Juank

Here is a test video from the Canon R5, shooting in 8K DCI All-I Clog3 and using Canon's VR Utility with its built-in Clog3 LUT. I outputted 8K H264 8bit from the utility. Clips were losslessly merged, injected with VR180 metadata, and uploaded to YouTube.
It is a true 3D VR180 video, but you can only see the 3D with a suitable VR headset. Without that it is 2D but you can still look around with your mouse (PC) or by moving your phone.
The video should be 4K, but it is not yet.

The gap is pretty huge after 24mm. Sony doesn't even really look stabilized at that point. 
If you aren't moving Sony's IBIS is pretty decent. But once you get moving, you're gonna end up having problems. 

From what I've seen Panasonic have released a new firmware that deals with wobble effect up to 20mm. Looks like the Sony IBIS is effective when walking with active mode on - am presuming that is with a slight crop. Panasonic much better with just IBIS 

Tell me about it, I was there for the whole DSLR video revolution. But then Sony came in with the mirrorless FF revolution with A7S in 2015 and boy did it take long for Canon to join in and catch up. EOS R (2018) had that weird 1.7x crop. Then R5/R6 (2020) were plagued with overheat issues. I mean it basically took until 2022 (R5C/R6ii/R7) to start having non overheating no compromise hybrids from Canon. Like we're just finally there in Canon land, so yeah of course they lost a lot of ground in the mirrorless video sector. They've been trashed in this forum alone for years, still have somewhat of a bad rep. 
Panny are in their own world I feel. Very loyal customer base. Mostly solo indie shooters. I know a few jumped over to BM. They have been ultra slow to adapt to PDAF needs so I think lost a few others to competition but with S5ii and on-going releases will probably gain them back. Solo operators really like their cameras and I understand why. Great video features, reliable hardware, always at a competitive price.

I think we're at the point where the image from most new cameras is good enough. Most pros in the mid-sector (corporate, lifestyle, web videos, social content, docs, some commercials, etc) understand that once you hit a certain level of image quality, other factors are far more important. They'll be more concerned about things like: Can I hand the footage off to another editor/agency and they'll know exactly how to handle it? Can I hire eight of them locally at short notice for a multi-cam shoot?  Does it still work if I need to shoot something that's not my regular style (this is where the Sony really shines as the FX6 is so versatile)? Will most AC's or 2nd shooters I hire know the camera well already? Are producers going to specifically be looking for owner/ops with this camera? If my lens gets smashed, can I find a replacement to buy/borrow/rent pretty quickly? These are the questions that form the difference between quality output, or a profitable business. 

These are the reasons why Sony dominates this particular market segment right now. The point I was making is that, unless you're providing all of these things to a user as well, then it's going to take a lot more than just offering 8K or "better colour" in order to convince them to buy something else instead.

Pure image output matters more in the higher and lower ends. On the lower end, a lot of the logistical problems disappear as you're only every concerned about yourself, your own camera and your own workflow. And at the higher end, budgets allow for cameras that answer all the questions above while also providing the very best IQ possible. Panasonic probably realise this and know that trying to make an FX6 competitor would be an uphill battle.

As someone that is about 6 months into owning an R5C, my only regret is not buying an R5 first. Only bcuz I'm doing alot of run n gun and handheld b-roll stuff and would've preferred the longer battery life and IBIS right now - although I plan on getting an R5 later this year. But my advice would be to wait if you can because the price of the R5C and R5 will probably drop even lower once the R5 II is released and who knows, maybe that's the cam for you (maybe even me).
Do remember though that if you go with the R5C there's a whole other bag of $$ you're gna need to spend on powering options. Personally I've settled on the grip (there's a cheaper third party option available now but comes with some cons I think) + FxLion Nano for proper shoots and an Anker Powerbank as a backup power source.

As I was watching the S5II reviews I realised that people are taking the same V-Log files and ending up with very different colour results. I guess there are four main approaches - use the colour in the file untouched, use Panny's LUT, use Resolve's Rec709 conversion, or use a third party LUT. This post compares the accuracy of each and discusses the trade-offs that might be made. This applies to the GH6 and any other Panasonic cameras that share a similar color palette.
I'll be using extracted colour patches from a colour target. This is how the chart looks in reality:

Below, I match the gamma of a GH6 V-Log shot of this chart and then look at the results. Open in paired tabs on a monitor and flick back and forth to compare.
 
1. Don't transform the colour, just add contrast:

You can see here by comparing with the original that overall saturation is way down, cyan magenta and yellow are too bright, reds are too orange, greens are too yellow and blues are too bright. Skintones are too green. I guess some people grade like this. However the colours are still in V-gamut and ideally should be transformed to Rec709. Even when I manually colour grade in Resolve so that some patches are accurate, then others are still totally off. Not recommended.
 
2. Use Panasonic's VLog to V709 LUT

This official LUT comes with a half-assed curve as part of it. But you can separate the components using LutCalc and just get a LUT that is the colour transform only. The colour LUT must come first, before the curve, or things will go wonky.
Cyans are too bright, magentas too pale, yellows too dark and orangey, reds a smidgen too bright and orangey, greens too pale and light, and blues are absolutely far too light and cyan. Skintones are slightly too pink.
Despite these colour inaccuracies this is actually a good colour transform in the sense that as far as I have looked I have never spotted any colour weirdness in the image like banding or colour clipping. It's a slightly muted look though, and not good for landscapes - foliage, sea and sky will suffer a washed out fate here.
 
3. Use Resolve's Color Space Transform to convert to Rec709 colour

Note that Panasonic's official LUT is available in Resolve under the LUT menu. However, you will get different colour results using the Color Space Transform effect to convert V-gamut to Rec709. I was a little bit excited when I saw these results at first. It looked off-hand to be a bit better than Panny's conversion, especially in terms of the lightness of the blues. However closer inspection reveals that although cyans are just about right, magentas are too bright and saturated, yellows too orange, reds too bright and saturated, greens are close but deep blues are oversaturated.
This colour conversion differs from the Panny insofar as it has to be applied after the curve conversion, not before. When you do this I noticed some weird colour artifacts in footage I'd shot at an aquarium. So yes, the blues are more accurate but the inaccurate Panny conversion gave an image with integrity whereas blues began to clip and go weird (even with saturation mapping).
Overall, this gives more accurate and I think nicer colour than Panny. However, if I was a wedding or nightclub shooter I'd be wary of colour artifacting in strong coloured lighting scenarios.
 
4. Third party LUT

I was interested to see if I could make a colour accurate LUT for the GH6. I gave it a go and you can check out the LUT here. The LUT must go after the contrast curve, not before!
Yes, it's very accurate compared to the other approaches. When contrast is relatively moderate and the range of colours is not so saturated it looks a bit similar to the Resolve transform. However, there is much better hue accuracy and saturation control in all tonal areas, which you really notice if you crank up the contrast or have very saturated. However, I did still notice some of that colour weirdness in the aquarium shots. So it looks like Panasonic know what they're doing in terms of sacrificing colour accuracy to preserve image integrity. And I guess if total colour accuracy is what you're after you need to shoot RAW!
Finally, here's a comparison on a real world image:
Vgamut

 
Panasonic Vgamut to V709

 
Resolve Vgamut to Rec709 (skintones are nice but note the oversaturated reds on the skirt)

 
Custom LUT

@gt3rs incredible footage, just wow!
I've sold my R6 so I'm in the market for a new camera. S5II is on my radar but lens choice and system familiarity will probably keep me locked to Canon. Logical step was R6II but it is selling for 2900€ which is crazy considering I can get a brand new (grey import) R5 for 3200€ or an R5C for 3500€. Very little price difference in between these two currently.
I can't make up my mind though. R5 has got IBIS which is quite important to me and good battery life. And since the latest firmware there are no longer major overheat issues. Still some time limits though and I remember @herein2020 saying he had all kinds of quirks with his copy including major EVF lag.
Everything else I prefer on R5C, namely LUT support which is a game changer in quick-turnaround workflow for me and the separate stills/cine menus. I'm just concerned with absence of IBIS and the dreadful battery life.
I think you have both R5 & R5C but prefer R5C I assume mainly for 8K60p? 
I have very little use for that but I guess its still an added bonus.
Any other reasons why R5C is superior to R5 (aside from the cine OS extras)?
PS: R3 has also gone down on grey market (4600€) and really sounds like a good pro option. Stacked sensor. 6K60p RAW is plenty enough.  IBIS. Extensive battery life. Vertical grip might even come in handy for vertical video shooting which I'm doing more & more. Plus who knows I could maybe develop sports/action career !

Well that's it, deal done; S5 and S1H being 'traded' for a pair of S5ii's. MPB collecting tomorrow, new boys on pre-order...
I would have preferred a pair of S5iix's, purely for their look (don't need their spec, - anything over 200mbs not required) but as they are not available until end of May/early June and my next season starts end of March...
I'm going to miss my S1H for sure, but this is going to be a better pairing for my video needs being:
A. Identical bodies.
B. Both having a built in fan rather than just the S1H (though the S5 never overheated a single time).
C. The AF of course for which I have a need, especially with regard to shooting log because shooting that only made the AF worse with previous Lumix cameras.
D. No 30 minute time limit as with the S5 which was a pain.
Body A will be paired with the Sigma 16-28mm f2.8 and Body B with the Sigma 28-70mm f2.8 and that's happy days for the forseeable future. My only wish would have been the tilt screen of the S1H (or even the S1/S1R) but that is the ONLY compromise with this camera for me. For my video needs anyway...
For stills, sticking with my trusty S1R's for the time being. I had already sold off my f2 Sigma primes. Loved them, but going forward, really wanted something a bit faster for the low light stuff so bought 3x f1.4's, the; 20, 35 and 85.
I'm in no rush to replace them and had considered a complete S5ii lineup, but I reckon either Panasonic or Leica will come out with something maybe for next year that will update the S1R significantly enough for me to replace them.
The ideal now would be an S5iiR model, but an S2R or something Leica flavoured would do it.
On the other hand, I might just trade the pair of them for a third S5ii body as a 3 body set up rather than a 4 works better...except during wedding ceremonies and speeches unless I switch to a 3x zoom set up for those times.
We'll see but glad I stuck with Lumix after considering; OM-1, XH2/S and even a wholesale switch to Sony.
Faith restored in Lumix/L Mount. Hadn't really lost it as such but I had a concern that they might just blow it and not go phase detect but realistically, that would have been suicide for them.

Just catching up with the S5II announcement. This is actually the first Panny mirrorless I'd consider as I'm slaved to DPAF since C100 almost a decade ago. A big kudos to Panasonic for finally getting proper video AF.
The specs and price of the S5ii are also very impressive. FF 6K30p with 3:2 open-gate is simply terrific for the asking price.
Neither Canon or Sony offer these specs at such an entry price point. This alone is very aggressive and makes switching tempting.
I've actually sold my R6 so I'm actively in the market for a new mirrorless right now. And this new entry makes my decision making even tougher.
I was hesitating in between simply upgrading to the R6 II or getting FX30. Or investing in higher up R5/A7S3. Or even R3.
So yeah Canon vs Sony. But the S5II (and upcoming S5IIx) is definitely on my radar now as well.
It would be my number one choice as far as bang for buck but actually the last because of these unknown factors:
- Lenses. I'm not at all equipped in them and the offering seems a little stale & pricy.
- Color Science & VLOG. I know nothing about them and kinda afraid the results and learning curve won't be to my satisfaction. This is really important.
- Size/Weight. I've always found the S series the most heavy/bulky system. Well built though.

Panasonic - like Nikon with the 1.8 S lenses, are doing great things with the few lenses its released. The faster lenses are stupid huge and not doing them any favors at all. But Sony also has the 50GM, which is vastly superior to pretty much any L-mount lens in every way. Panasonic should be dissecting every recent GM lens and try to top them, the size of many L-mount bodies and lenses are a detractor for many. The 50 1.4z is still great and can be found used for crazy cheap prices compared to its performance. Sony's latest GM mk2 zooms make the gargantuan L-mount 2.8 zooms look silly in comparison - they're better optically, better AF with the linear motors and are much, much smaller. Sony also has the recent 24/35/135 GM's that are class leading, and cheaper alternatives in many cases like the 20/35/80 1.8's. And then there are the vast 3rd party options including everything Sigma has in the L-mount.
Everyone has a long way to catch Sony on the lens side - the only thing anyone outside of Canon can hope for is to try and stack the spec sheet enough to keep people from choosing Sony or Canon. But as we've seen over the last few years, Sony is the only one gaining market share at the expense of everyone else. Lenses are a major factor in their rise. 
Chris
 
 

A pretty good overview:
 

The difference in lenses is overall build and optical quality. The Panasonic 50mm f1.8 is vastly superior in every way to the Canon or Sony equivalents, especially in build and function. With that said, it would be good for Panasonic to have a $150-200 lens to get people into the system. I like the 40mm f2 or 40mm f2.8 pancake option. 
The Panasonic S5 was recently selling for $1500 in the USA and you got a free 50mm f1.8 or awhile and then they switched it to a free 85mm f1.8. I think they should just keep this pricing permanent. After a year or two of using the S5, those users (hooked now with lenses), will be all about upgrading to the S5 II or S2H or whatever comes next. 
But, like they recently said about "looking forward to the rapid expansion of Lumix systems," they need to expand very quickly and aggressively. PDAF is here, the excitement is up, they are better in almost every way compared to the other brands in terms of IQ, tools, IBIS, video assist tools, ergonomics, look/design, mid-tier lens quality, high-end lens quality (for 24-70mm, 50mm f1.4, etc), etc - I really think Panasonic just have better cameras than all of the competition outside of telephoto lenses and AF - but now the AF is comparable to Sony and easily better than the video AF on Canon's R5c. 
They need to spend the next 6-9 months releasing at least 2-3 more bodies. Specifically a VERY video focused video at NAB in April (like BS2H or S2H with updated stacked sensor, high-frame rates, electronic ND (please!), timecode, and (probably though I don't care too much) 8k) and then a 47-61 megapixel S5 IIr. 
A 24mm and 85mm f1.4 in the 500-650 gram range would also be very welcome.

The C200B is on sale at B&H right now. I think it's $2400. 

When I decided to ditch Sony for good - and when I decided to ditch Micro 4/3, I was bummed at all of the system lenses that I had and sold for not enough money so I've decided that for now, for the most part, I'll just get EF lenses and adapt - the Canon adapter for the R5 autofocuses about as well as I need and I also get the bonus of having a built-in ND filter tray so I don't need to bring other ND's with me.

The only exceptions will be lenses that are totally unique to a system (800mm f/11!), lenses that have some truly major improvement for a given system (the RF 70-200 f/4L is shockingly tiny and still pretty good), and GFX lenses (some EF lenses work fine on GFX, some don't - plus every GF lens I've used (except the 80/1.7) is freakin' incredible).

Anyway.  This strategy makes jumping systems easy once the vendor gets complacent.  I moved to Sony mirrorless from Canon years ago because EF bodies stagnated and they kept releasing new cameras that were the same as the last one, but with only one or two spec bumps where Sony was going crazy with improvements - not to mention the first A7s was mindblowing for low light on a consumer camera.  Then...  Sony started releasing a bunch of ho-hum updates... and Canon suddenly had the R5 which, aside from early overheating shenanigans, is incredible...  by mostly having lenses that work with every camera, I won't get stuck to a system where the vendor decides to stop innovating because it's hard to move away with thousands invested in lenses.

Anyway.  EF lenses are often not the greatest, but also are often good enough for anything I need.  I strongly suggest the strategy to everybody!

(Also, adapt all manual focus lenses to Leica M mount and you'll only ever need Leica M adapters for your cameras)

I sympathize with a lot of people that went with the GH6 for this reason, though it's just the nature of the beast unfortunately. 
The GH6 felt so long overdue at the time that it's hard to say this, but they might've been better off waiting until they could do PDAF before releasing it. Easy to say that now, though. 

I wish we had some idea of sales numbers. Even accounting for the hype, it seems like this will be a very successful camera for Pannyboy. It'd be interesting to see what the sales numbers are like vs. their other cameras, and between the II and the IIX.

"HDMI LATENCY TEST - If you turn off Sound Output Via HDMI in the menu the latency drops to 180 milliseconds."

Ohhh, that's not so awful now! Unlike the earlier reports about the delay over HDMI.
 
 
 

I almost did the same thing !
But I sent back the R5 and kept all my L mount lenses. The S1 (and S5) is great , yes the AF is very bad but IBIS and image quality are very good. 
I still have my GH6 but I'm very tempted to sell it before it loses it's value, I agree the it is somewhat overpriced and beside of very nice colours I don't like the image quality so much for some reasons. But it's the only Panasonic camera with 4K 120fps, is it why I maybe not ready to part with it.
I never had the R6 or the R6II but for me the R5 had the advantages of 4K 60 and 120fps without crop compared to the S5II. The R6II has no crop in 4K 60fps but I still prefer what I've seen of the S5 II, even if the R5 and R6 were at the same price. The S5 II could be my favorite camera since my NX1.
But if Panasonic adds 4K60/120fps for the S1II, it will be my perfect camera.

After deciding going full Canon this summer, now this!
I have already investing in RF (3 lenses, 3 adapters and an R7) and I am now split if I have to sell everything and move to Pana..
R6mkII is still 3.200€ here, so is a no go for me for a middling hybrid, pricing of the Pana cameras seem just right and I am really impressed of what I have seen already. If the EF adapter works well, I seriously don't see why not most choose these cameras and slowly built their L lenses collection.
That X camera seems like an amazing deal whatsoever..
Well done Panny..
GH6 and everything else seems a bit overpriced now.. don't they?
Can anyone point me at any advantages the R6mkII have at this point?
The camera is not out yet and we see just some marginal differences in IBIS and AF, I am positive they will be fixed in no time..
The active cooling is incredible at this price point. It will damage Fuji sales as well I believe.
I do love the color science so far. I haven't pixel peep or anything, really, but I just like what I am seeing..
..just..WOW Panny!

They seem confident that a Panasonic S2H is going to come along eventually:
 
  
Sadly only for U.S. based colleges 😞
A pity as I'm a postgrad engineering student at University of Auckland, would've been cool if I'd been eligible. 

It's not my video. However, it was shot at 35mm in APSC mode.
Their written review is worth a read as well. There are a few interesting observations in there. Google Translate if you don't speak German. 
https://www.slashcam.de/artikel/Test/Panasonic-S5-II-mit-Phasen-Autofokus-in-der-Videopraxis--Ueberflieger-in-der-2-000-Euro-Klasse---alles-.html
 

There's a sequence here with the Sigma 18-35 1.8 and MC21 adapter
 

Just an FYI, if you can get the EDU discount at B&H, there are deals to be had. Kinda want to get one to tinker...
Chris
 

Yes, if EF lenses are working well when adapted then this camera is a no brainer for a lot of people, including me.