Juank

I think there is also the issue of "how" the RAW data is compressed not just the insanely broad "all RAW from camera compressed higher than 3:1" belongs to RED.
Canon clearly has some kind of deal with RED when there is CRAW Light 8:1 in Hybrid DSLM R5. This, and the fact they fit internal NDs in RF mount flange, makes me incredible excited for future camera generations from Canon.
So I find it doubtful we will see RAW in GH6. I would be really surprised. I think they should do what Sigma did and just offer uncompressed 10-bit and 12-bit RAW and develop that external storage grip solution you are proposing and have the huge file sizes countered with cheap M.2 SSD media recording.
It has been forever since we heard even a whisper of a rumor about hybrid GH cameras. They are either entirely reworking the model line or they are going to kill it and focus on S series FF cameras.

They should just make a battery grip that contains an M2 SSD slot that automagically connects to the camera and records the compressed raw on that - bingo..  "external" raw.
Or licence Prores from Apple and offer those options.  
....or just make it possible to select whatever bitrate and bit depth you want and turn off sharpening, that would do it for me.  

I think you raise an interesting point about the pipeline.  The video files that many cameras produce are only a pale impression of the capabilities of the sensor, and that is definitely the case when cameras have 8-bit low-bitrate codecs.  
Do you think this is also true for the RAW shooting cameras we now have, such as the BM or Prores-RAW cameras?  I ask the question because although I don't think that anything should be missing with those setups, I wonder if there's something you're aware of that I'm not?
In terms of DR, I think that we are most certainly not there.  I still think that there is benefit to having more DR than even an Alexa has, at least, when shooting fast in uncontrolled circumstances.  For example, I would like to have perfect exposure on a subject while also being able to have the sunset in the background, whereas (IIRC) even the widest DR cameras still clip more of the sunset than you'd want if the subject is placed at the right IRE for skin tones.
The Alexa (apart from being generally regarded as more capable than ARRI suggest) employs a simultaneously-combined-dual-gain architecture combined with 10-year old sensor tech.  The latest sensor tech has gotten a lot closer to that performance using a single-simultaneous-gain architecture, but if we took some of the zillions of pixels we now have and sacrificed them to implement that architecture, we could easily leapfrog the Alexa DR, which I think would create absolutely stunning images beyond what we have seen from current sensors in anything other than their sweet-spots.
Going back to the destructive image pipeline that happens inside consumer cameras, it really makes me angry that in many cases, people have bought a sensor with X performance, an image processor with Y performance, and an SDcard card writer with Z performance, but instead of giving the overall performance of the least capable component (bottleneck), we get something like 10% of the bottleneck.  Things like having a 709 profile that deliberately clips the top few stops of DR instead of putting in an aggressive knee for example is ridiculous and is simply just an adjustment of the profile itself and requires no hardware changes at all.  
Then people start wanting to hack the camera, and the manufacturers respond by encrypting and otherwise preventing these alterations.  In effect, you are paying extra money for each camera you buy, in order for the manufacturer to prevent you from being able to get the full benefit of the product that you are buying.

@kye Two years or so back we had a thread with classy classic 8bit stuff. We were discussing how gh1,2,3 and even 4 shooters did much better than gh5 fans on vimeo. How they were rather artisitc than unimaginative techconsumers and advocats of putting anything dull in slow motion. Here is a repost of a video I posted back then, if I remember correctly. If not, anyway, one of my favorite GH1 clips on vimeo. Your example above is a splendid demonstration of craft and love for the image, showing a convincing image for sure.
 

If it's worth saying, it's worth repeating, right?
also, if it's worth saying it's definitely worth repeating.  
I completely agree.
To put things into perspective, here's a video from the GH1 that I saw shared recently.  To my eyes, it look better than almost everything I see posted in the last couple of years.
1080p camera, 1080p upload, from a camera that is so old it doesn't change hands much anymore, but when it does it can be had for about $100.

Here's some tips, based on my experience with the sharpness tweak:
I'm not sure if this is the case with every lens, but with mine, it was possible to adjust the sharpness without even removing the brass tabs.
Just by loosening all 6 screws, but leaving the tabs in place, it created enough rotational play in the front optic for me to fine-tune the sharpness. This is because the holes in the brass tabs are ever so slightly bigger than the screws, so you have a little room for rotation.  For me it was just enough. 
Once you find the sweet spot, simply re-tighten the screws.  No glue needed.  Be careful that the act of re-tightneing the screws doesn't nudge the optic. This took me a little while to get right.  Once everything is tight, check the image again to make sure it's still sharp.
As Tito says in his video, it's easiest to judge the sharpness using a long lens at (or near) infinity, and stopped down to 4 or 5.6.  In my case,  I could never get a sharp image with the Kowa and taking lens at infinity.  I had to focus both lenses slightly less than infinity to get a super sharp image. 
This is very important, especially if you are using a single-focus solution.  Don't blindly trust the infinity marks on your Kowa or your taking lens.  You might be able to get a MUCH sharper image by adjusting them slightly under infinity.  I'm sure this will vary from lens to lens.
Hopefully this helps!
 

Or get the Sony FX6, the price is broadly similar to the C70

In my case, I didn't care for 4k when the first A7s was marketed as such, (which was of course a fat lie, as it required an external recorder) and for personal projects I don't see the need. Perhaps only for punching into a closer frame for talking heads. 
As one man everything, I do need a good AF. It doesn't have to be stellar. Just good and reliable so trying to find this fine line. 
In Greece the C70 will cost me 500 euros more than an A7siii + a 24-105, so I think I am torn between those two. This reviewer said good things about the c70 autofocus. Or perhaps save 2000 euros and get the A7iii, but not sure about it's video AF. 
Of course I loose the ergonomics and XLRs but as I said earlier, I think a 32bit float recorder might be better for my needs. Also I am not so sure about the preamps in the c70. This audio review has a lot of hiss when he is switching recorders. Mixpre-3 sound so much cleaner.
 
 

What cameras don't use Sony sensors? Arri, RED, obviously Canon, Sigma (Foveon, anyway, the Fp is a Sony sensor), and by all indications, the Blackmagic Ursa 12K.
And I'm unclear about some older sensors, like the Panasonic Varicam/Varicam LT (guess that isn't "old" - it's still being made). That camera was the first true dual native ISO (vs. dual GAIN, which is what most cameras actually are despite being described as "dual native ISO") and predates anything Sony did with dual native ISO tech. So, my guess is they did not make that one - maybe Panasonic themselves or TowerJazz. Someone more internet savvy than I might be able to figure it out.
I don't put much stock in this whole "did Sony make the sensor or not" as it relates to how the image looks. Sony makes multiple sensors used in Hasselblad, Nikon, Panasonic, Fuji, Olympus, Blackmagic, etc. And every single one yields completely different raw output in a number of different metrics. The processing pipeline that Nikon/Fuji/Panasonic/whoever implements matters infinitely more.
Looking at images from, say, the original Blackmagic Pocket vs. the Pocket 4K/6K and preferring one over the other has far less to do with who made the sensor and more to do with what Blackmagic is doing (advancements from their Gen 1 color science to their new Gen 5, for example). Exceptions would be comparing CCD to CMOS; Hasselblad's Kodak CCD sensor clearly is very different from Sony's CMOS sensor, no matter what Hasselblad does. But that's a bit apples and oranges.
Now, should someone (like a big company) start making sensors? Absolutely. Competition is f***ing great, and Sony is bulldozing the sensor market. Samsung is probably best poised to do something like that, and I hope they do.

Was considering getting an EVA1 to compliment my S1 but I am kinda waiting on Panasonic to make its next move before I do. 

I think the problem is there are lots of options out there and if we are honest, there has been no clear indication of when or if there will be a GH6 and whether it's worth waiting for.
If it's over 2000-2400€ and doesn't have 6K 50p, eND, good AF and lowlight then I'm nor sure what the point of m43 as a pro camera is. And I have a GH5 and GH5S and loads of lenses. Whilst it's been a great camera for me I really feel my GH5 doesn't cut it anymore on quite a few of my jobs. Mainly due to lowlight, noise and af issues. GH5S only solves lowlight problem.

What I usually do is to open the image in PS and stretch it down to 50% horizontally and the crop 50% top and bottom. That's it.
Beware that with most anamorphic lenses, when you focus at the closest possible distance (ie. 2m), the squeezing factor maybe reduced to lower than 2x, like 1.8x or so. So if you desqueeze your image by 2 times you might find that the people in the image look fatter than they should be.

So as I'm getting ready to start shooting my micro budget feature, I decided to do a final test between those 3 scopes and a Voigtlander 40mm F2 as taking lens, wide open at F2.
Well, I was surprised.
I used the cover of a book at 40 feet.
The scope I expected to perform the worst, in fact was the sharpest of all three. I could read the title from 40 feet away.
Here are the picture.

Please have an open gate raw mode!

I was browsing on market place and I didn't realise camera is already in the antique section
 
 

American Cinematographer (the magazine of the American Society of Cinematographers) has a great offer on at the moment - 1 year's subscription to the digital version, plus full access to their archive (which goes back to 1920!) for USD19.95. I just grabbed one - perfect for filling those long lockdown evenings, I'd say.
https://store.ascmag.com/collections/subscriptions/products/american-cinematographer-digital-subscription-1-year

It's finally arrived.
First impressions, - I really like it, - the size and weight. On my S5 with Smallrig baseplate, it's a moderate weight (a good thing as in not too light) but compact set up and when I think back to my old DSLR Nikon D3S with 24-70mm f2.8... it's a huge amount smaller and lighter and far more capable for stills, never mind video.
1/8th mist going on and then I'll be putting it's through it's paces soon enough.
I can't at this stage see the 24-105mm f4 being here for much longer...

The Sony IMX800 is rumoured to be a 1-inch sensor designed for phones. It is expected to make its debute soon.
What does the future hold for dedicated consumer cameras if this rumour is true?
https://gsmarena.com/rumor_the_huawei_p50_phones_will_be_the_first_to_use_sonys_1_imx800_sensor-news-47938.php
https://twitter.com/RODENT950/status/1364507707907178496

My hope here (expectation, actually) is that Panasonic will go with their own organic sensors for their next wave of releases (post-Japan-Olympics) with a line of 8K/wide-DR/high-ISO/global-shutter cameras (yes, MFT, too). Quite frankly, the market could use some better sensor differentiation, IMHO, and I'd love to see Panasonic and Nikon and Sigma succeed in bringing their own sensor technology to market each for their own unique imaging characteristics. Sony can continue to sell their sensors to the upstarts (like Z-Cam) and stay in the green. Time to move this market forward...again, IMHO.

Sony Semicon's Exmor RS line has now fully matured and will come in various sensor sizes - all 8K capable.
One of the first to make the debut is a 45MP Micro 4/3 (MFT) sensor with 2.24um pixel size.
More to follow.

Z-cam looks to be here to stay. There were rumors of shortages of the processor Z-cam uses, but their entire product line is in stock at BH Photo except for the original E2. Z-cam also looks to be introducing a competitor to the Red Komodo with the release of the Z CAM E2-S6G Super 35mm 6K Cinema Camera (Global Shutter) due in April.
So, with what appears to be a stable company and expanding product line, it is worth taking a second look at the E2-M4 now that Z-cam has now released firmware 0.98.0 that enables Pro Res recording at all frame rates on the E2-M4. This includes 4k @ 120fps, 4K 2.4:1  @ 160fps & 1080p @ 240fps in Pro Res, so you don't have the overhead of decoding H265.
 
A natural comparison is to the Blackmagic Pocket 4k, which has a few advantages:
1. 12bit BRAW
2. LCD Screen
3. SD Card Recording
4. $200 cheaper
5. AC to DC power supply included
6. About 1/2 lbs lighter
 
Some of the E2-M4 advantages are:
1. 4k @ 120p and 4k 2.4:1 @ 160fps slow-motion recorded to Pro Res internally as well as un-cropped 1080p @ 240p for super-slow motion but it does line skip.
2a. Wireless video monitoring to iPhone or iPad (or both at the same time) with only 100ms delay, which better than many less expensive wireless HDMI solutions when you add the HDMI latency of the camera HDMI out.
2b. You can also plug in your iPhone into the USB C port via a cable and it will take the place of the wireless link and charge your phone at the same time as well as ensure a reliable connection.
2c. The app functions much like a real monitor with 1080p resolution, peaking, scopes etc as well as does camera control.
3. 5-pin Limo to dual balanced mic pre inputs with phantom power (adapter cable required)
4. Interchangeable lens mounts including a optional locking M4/3 mount as well as an EF or PL that can take their variable electronic ND (the M4/3 and M4/3 locking can not take the vari-ND) There is a mount with a built in speed booster.
5. Box camera so it is a better shape to balance on a gimbal.
6a. Different sensor than the Blackmagic Pocket 4k that does not have the magenta shift at when under exposing
6b. This sensor is significantly taller than the Pocket 4k sensor so it is much better for shooting anamorphic.
6c. The combination of difference sensor and Z-Cam color science and color profiles provide a different look and some will prefer it to the Blackmagic 4K.
7. Expanded ISO limits depending on your shooting mode up to 102,400  vs  25,600 of the  Blackmagic Pocket 4k.
8. HDMI output can output up to 4k depending on the shooting mode.
9a. Large, more powerful, longer lasting battery options using the Sony L-Series.
9b. Power output from the camera to power a monitor.
10. Can shoot ProRes RAW via recording to the Ninja V. (not really an advantage if you use Resolve due to BRAW support)
11. Live streaming via Ethernet port.
 
As they in Spinal Tap: these go to 11.
 
For an extra $200, it is worth considering the Z-cam E2-M4, especially if you are a Final Cut Pro user, if you own an Ninja V, or if you own a Ronin S.  Here's part 1 or a great 3 part review of the E2-M4 by Adam Wilt: https://www.provideocoalition.com/review-z-cam-e2-m4-mft-cine-camera-part-1/
Thanks!
Mark

Whatever.
It's a $6000 camera. That is Leica and medium format territory.
I expect better than a Sony clone for this price.
Sure, use the technology available - I am fine with that - but at least be different.
For this much money you can get the GFX 100S. Unique selling points: medium format, 100 megapixels, Fuji colour science, very good codec.
Or you could get a Leica SL2-S. Beautifully engineered and designed.
Or you can just get the Sony A1. Smaller than the Z9 and it actually exists. Why wait 8 months to a year for the same thing in a different shaped body?
You keep banging on about me being biased or inconsistent. So don't expect me to be polite in return.
There is no bias in pointing out the fact the Sigma Fp has internal RAW recording for $2k from a full frame sensor, as well as being one of the smallest full frame cameras to ever exist, and that there's nothing else like it available on the market for the price. Equally there's no inconsistency in saying the Z9 isn't that unique, doesn't stand out on the market, and comes out a year later than the nearest competitor from Sony, with a vertical grip you can't remove and looks / ergonomics which look more consumer than pro.
Just some factual info for you. But then, when did stating facts get me anywhere...

To put it simply:
WOW.
It takes some time for your eyes to adjust to this crazy aspect ratio, but after a short while you'll be fully immersed.
Great vibe, it has that 'True Detective' feel to it.
Not much really is shown directly, instead you have to rely on your imagination. That works for me.
Overall: I was left longing for more.
Much, much more.
All shot on a GH5 and an anamorphic adapter that sometimes go for as low as 200$ - Schneider Cinelux WA (beware, it's huge and quite impractical).
 
 

The RF 35 lives on my R6 (as the EF adapter is back-ordered due to the Canon factory fire). I've come to really appreciate this lens as it is quite compact, versatile, sharp, aberration free and has macro & IS. For the price it's killer, I like it so much I'm thinking of adding the RF 85 1.8 Macro IS.

Sorry to plonk this here but as the FX6 keeps getting mentioned in comparison and I couldn't actually find a FX6 thread (surely there must be one somewhere it's proving very popular camera?)
Anyway a bit too much slow mo for my tastes but some lovely footage never the less and a little Alexa comparison at the end