Juank

No, that's Dual Native ISO, not Dual Gain like the GH6 is.
Dual Native ISO is when the camera has two native ISO values that it can choose from and picks the best one to use at any given time.
Dual Gain (in the sense of the ALEV, Canon DGO, and GH6) is when the sensor has two outputs that each have a different gain and those two outputs are used simultaneously and combined with each other to create a higher DR image, in-camera, in realtime.
This is the info from ARRI - https://www.arri.com/en/learn-help/technology/alev-sensors
It's something people get confused between, because it's so rare and.... innovative.

Yep, that GH6 grain is very film-like.
R5C 10bit looks like there is heavy temporal NR going on which causes that unnatural shimmering, especially when you compare it to the RAW output which is noisy but doesn't shimmer.

German testsite Slashcam. Very amazed, by the fact that the GH6 performed equally well as the R5C regarding dynamic range.
Here is a translation from their 5RC review, regarding the GH6 surprised them.:
"What's really amazing, however, is how well the winner from our last MFT dynamic showdown does: The Panasonic GH6 with Dynamic Boost can "only" come up with 6K, but otherwise delivers a thoroughly equal dynamic range. We will try to present you with more dynamic range comparisons in the next few weeks, which will hopefully result in a more differentiated picture of the current camera market."
 
 
 

Pretty interesting match of different company's grip.
 
 

DR is highly susceptible to processing, like highly highly susceptible, so if there's any change to how the camera processes the image, or there's any change to how it is processed in post then the DR measurement will reflect that.  It could be that something like the debayering is different etc based on the metadata from the cameras (ie, not something that he did) or even that it got upgraded int he software in the meantime.
I'm starting to lose trust in DR measurements as the more I look at it the more I find that it's sensitive to things that don't matter in the real world, and isn't sensitive to things that really matter in the real world.  Not saying that DR itself doesn't matter - far from it - but the way it gets measured I think isn't a good representation of that.

Why do camera producers have a hard time to put the codec options out for convinient and comprehensible reading.
DJI and ZCam are nervewrecking when it comes ot codec infos. 10bit, 422, bitrate, framerates, that´s what we want to know about, the top specs and those easily accessible to read, pleaaaaase.
Mini 3 Pro is still 8bit and most of the low and mid range Zcams don´t offer Prores. Shouldnt be too hard to make that more transparent. It´s no fun wasting time trying to find the hard facts when they should be headline, even if they suck but then even moreso.

This new Sony Xperia Pro-I I just bought is Crazy good. I will get some shots up; the weather has been terrible here last few days. This smartphone is a camera first and a phone second. Amazing tech in it. A Sony RX00 VII in your pocket almost.

GH6 and S5
 
"  Comme vous pouvez le voir dans la vidéo, le S5 et le GH6 se marient à la perfection ! La nouvelle color science du GH6 est presque quasi-identique à celle du S5. D'ailleurs, je vous met au défi de me trouver les plans filmés en micro 4/3 et les autres filmés en 24x36. Nous avons aussi été bluffé par la stabilisation du boitier assez incroyable. Tous les plans du GH6 ont été tournés en run & gun !  "
Google Translate
" As you can see in the video, the S5 and the GH6 go together perfectly! The new color science of the GH6 is almost identical to that of the S5. Besides, I challenge you to find me the shots filmed in micro 4/3 and the others filmed in 24x36. We were also amazed by the quite incredible stabilization of the case. All the plans for the GH6 were shot in run & gun! "
Google Translate
 

Great post - thanks!
As a GH5 user I can see lots of interesting little improvements here that are against things that irk me about the GH5 so will be real-life improvements.
A few thoughts:
V-Log clipping at 88 isn't a big deal - for 10-bit footage the difference between 88 and 100 is inconsequential and it's designed to provide compatibility with V-Log cameras with larger DR on the GH5 the HLG mode contains the whole DR of the camera (unlike any of the other picture profiles) so if HLG is in the camera then that's a full-DR alternative to V-Log 13 modes rather than 5 is huge, and especially that there's 4 on the physical dial - I will definitely be using more than 5 of these modes Sleep function forgetting things was definitely a PITA so refinements to that is huge, and the extra custom modes help with that too I'll be particularly interested to see how the 1080p (or 2K?) Prores mode is integrated into the camera.  In addition to image quality, it'll be interesting to see if it requires the newer batteries or not, etc.  
Can you give a bit more information about how well the current (h26x) 1080p ALL-I mode works?
Particularly, I'm interested in how the footage looks from these modes:
1080p24 mode 1080p24 mode with 2X digital zoom 1080p60 mode 1080p60 mode with 2X digital zoom On the GH5 all those modes are downsampled and the footage looks flawless.  Is the GH6 the same?

It's definitely tilted towards the needs of the professional user over the casual enthusiast I would say.  Features like DR Boost, ProRes internal, and compulsory 4-channel audio (you can't take a stereo track into post as far as I can see), potentially make life better for the dedicated pro, but probably more fiddly for the enthusiastic amateur.
Full V-log curve seems to be a bit of a gimmick as you're not able to stretch the DR past what V Log L would have allowed from what I can calculate (admittedly not my area of expertise).  V Log highlight clipping occurs around 88 IRE (compared to 82 for V Log L, and 109 for full V Log range).

That said, as previously mentioned, DR Boost is definitely worthwhile, and gives the crucial little bit of DR I've been crying out for with this series.  It doesn't turn the camera into a dreamy DR monster, but it does take the edge off of that burnt-out DSLR look, and seems to help both highlights and shadows.  I don't want to oversell it, because it really just adds a touch of latitude rather than a major transformation, but its a very useful addition in my book. 

What is also fantastic is full V-Log gamut, which seems to be providing much richer, more natural and accurate colours. I'm really enjoying shooting with it.

I think that if you're not going to be using V Log you've got some problems though.  DR looks much reduced, and from looking at online tests it looks like it may be even worse than the GH5!  That's not good news really.  Is there any point in using Linear DR+ mode when V Log (with DR+ Off) offers greater dynamic range?

 I'm really pleased with my camera so far.  It's familiar enough that I'm getting some muscle-memory imbedded straight away, but progressive enough that its challenging me in some interesting new ways.
As well as the obvious headline features, one thing that really strikes me is that Panasonic have really sat down and thought about how to make this camera better from top to bottom.  Some innovations I really like are:
 
Improved Custom Modes.  You can now save 13 Custom Modes (and crucially give them names that come up on the screen when you turn the dial).  That's up from 5 (un-nameable) on the GH5 if memory serves correctly. Same topic, but you can now choose how the custom modes respond to shutdown/sleep, etc., even to the point of excluding certain values.  This is massive because the previous CM system was practically unusable due to the way it kept resetting exposure values 😖. There's a lock switch, and again, you can dial in exactly what you want it to lock and not to lock.  I'm using it just to protect my shutter angle dial.  Hallelujah! You can use 4-channel recording in conjunction with the (separate accessory) XLR input and the minijack socket.  You can now (I think) use this setup to patch a safety channel from the XLR, which you annoyingly couldn't do before (despite the availability of the stereo channels). The exposure tools are improved.  There's a nice luminance spot-meter which works well (though they want you to switch your thinking from IRE values to stop values when shooting log, which I'm finding a bit of an adjustment). The waveform is now bigger and actually useable (though it has no value scale). The camera is palpably heavier, which is helping me to get steadier footage when going handheld (along with the excellent IBIS of course), but I appreciate this will be a negative factor for some. You can get a surprising amount of functionality with the old GH5/GH4 batteries.  I can't remember the exact limitations, but basically you just can't record in the super-duper modes (5.7K, 800Mbps and above, ProRes, etc.), but everything else works fine.  I expected the limitation to be much more than that.  I can see certain people just sticking with their existing batteries to be honest.  The restrictions are similar (possibly identical) to those between V60 and V90 card recommendations from what I recall. The battery lock tab (inside the battery enclosure) is now white instead of black so you can easily locate it in the dark.  Admittedly this is not a significant feature in any way, shape or form, but I'm really happy to see it because it tells me that somebody has been going over every inch of this camera series and trying to find incremental ways to improve it. Some things I'm not so keen on - 
The whole 2000 ISO or bust thing.  It seems to me that if you are going to buy this camera, the top end DR improvement is one of the biggest draws.  You will have to develop a new ND strategy to use it freely.  To be honest it hasn't been the nightmare I was anticipating.  I love the DR Boost mode image output, so I might just adjust my thinking and continue to operate at ISO 2000.  It's nice for low-light in any case.
Battery life, which used to be the strength of this series (GH4 💪) is now distinctly meh.  But I guess that's just the price you pay for IBIS, Dual Gain sensor, fan, etc.
I've only just started to get to know this camera. I haven't tested any of the high speed modes (look fantastic online!) or photo features (ditto).  Overall , I'm really pleased with it.  Coming from the GH5S, the improved image quality (I was already happy with the GH5S to be honest) and addition of IBIS is an absolute killer already.  It doesn't lag too far behind the GH5S for low-light either, seeming totally useable up to 4000 ISO (VL DR+), which is more than enough for me.
 
 

An interesting suite of tests, but the way they count stops of dynamic range is a bit odd. Their stop number "1" (which is clipping) should be "0".
If you're running a race and you're still at the starting line then you've ran exactly zero meters. You can choose to call the starting line "1 meter" but you haven't ran one meter until you've ran one meter (ie: their stop number "2").
Or, to put it another way, we should count the gaps between the lines on the waveform, not the number of lines themselves because the first of those lines represents zero dynamic range.

I thought this was interesting:
One significant point he makes is that because DR hasn't got any new huge headline features that they'll spend time consolidating what they have, making more incremental improvements, and that it's a sign that the package is maturing.
To be clear, for anyone that isn't familiar with Resolve, in the last 5 or so years when they make a huge upgrade it's on a level that is completely beyond what the other NLE's would ever do - one year they added an editor, another year they added Fusion, another year they added Fairlight, etc.
Think of Resolve as more like the entire Adobe video suite but just in tabs 🙂 
However.....
Resolve 18 is not what I was hinting at for this thread.
The rumour is that they'll drop a new camera on the first day of the show.  Which is still in a few days time.

Please delete my previous post.

I thoroughly enjoyed my time with Z9. If it wasn't for physical size, it would be my favorite mirrorless camera ever. I hope some of the video features will make it's way to the new generation of Nikon bodies. All I want is internal ProRes HQ. 

I've been waiting on Nikon to stop being the sleeping giant I've believed it to be in the video department since the D750 release, and from the IQ I'm seeing from N-RAW we might just have a contender for best video image out of a mirrorless hybrid body. I hope this isn't hype, so I'm waiting for more videos to surface. Color fidelity is outstanding. Image is detailed (cinema body league rendering) without looking mirrorless "sharp". DR isn't lacking. Highlights look serviceable..
 

My money is on it being a new selection box.

There's a bit of buzz building around BM announcing a new camera at NAB.
It started in this thread on the BM forums where the release history was outlined by Tim Buttner:
 
  UMP Announcements & Releases
  UM4K: April 13th 2015 - https://www.blackmagicdesign.com/media/ ... 0150413-05 
  UM4.6K: Announced April 13, 2015 & Released March 17, 2016 - https://www.blackmagicdesign.com/media/ ... 0150413-05 & https://www.blackmagicdesign.com/media/ ... 0160317-01 
  UMP G1: March 2nd 2017 - https://www.blackmagicdesign.com/media/ ... 0170302-01 
  UMP G2: March 5th 2019 - https://www.blackmagicdesign.com/media/ ... 0190305-01 
  UMP 12K: July 16th 2020 - https://www.blackmagicdesign.com/media/ ... 0200716-01 

  Pocket Announcements & Releases
  Pocket 4K: April 9th 2018 - https://www.blackmagicdesign.com/media/ ... 0180409-02 
  Pocket 6K: August 6th 2019 - https://www.blackmagicdesign.com/media/ ... 0190808-01 
  Pocket 6K Pro: February 17th 2021 - https://www.blackmagicdesign.com/media/ ... 0210217-02 

  DaVinci Resolve Announcements & Releases
  Resolve 12: April 13th 2015 - https://www.blackmagicdesign.com/media/ ... 0150413-01 
  Resolve 12.5: April 18th, 2016 - https://www.blackmagicdesign.com/media/ ... 0160418-05 
  Resolve 14: April 24th 2017 - https://www.blackmagicdesign.com/media/ ... 0170424-01 
  Resolve 15: April 9th 2018 - https://www.blackmagicdesign.com/media/ ... 0180409-01 
  Resolve 16: April 8th 2019 - https://www.blackmagicdesign.com/media/ ... 0190408-05 
  Resolve 17: November 9th 2020 - https://www.blackmagicdesign.com/media/ ... 0201109-01 
 
..with the implication that BM have a relatively regular release schedule and that we are either due, or overdue, depending on how you read the timeline.
One aspect that was discussed was that BM haven't given any previous PR to anything, which is what they usually do / have done in the past.
Then @John Brawley created a new thread talking about how NAB will be the 10 year anniversary of the release of the first BM cinema camera.  It starts with this:
 
  It was about 10 years ago that Blackmagic truly shocked all by announcing that they had made a cinema camera.

  Some thought it was a joke.

  Some said it was a toy.

  It was announced the first day of NAB in 2012. There were no leaks. It dropped on the floor of NAB like a bomb.
 
This, to me, is an enormous wink and a nod at the idea that BM will announce something big.  
I have no idea what it would be, but to me there are a couple of key aspects that I think (hope) might play into things:
BM discontinued the Micro Cinema Camera relatively recently, and currently have no camera aimed at drones or rigging RED released the Komodo, which seemed to be a GoPro replacement for the cinema industry, and seems to be a popular option (and makes spectacular images) There is chatter about BM putting the sensor from the UMP12K into a smaller form-factor I have no idea if I'm on the right path or not, but it sure would be great if BM released a S35 12K box-style camera with more DR than their other cameras, and would definitely be grabbing the resolution headlines again.  Even if they limited the sensor to the 8K mode (which doesn't crop) it would still be a phenomenal camera.
But, it's BM, and they like to think big, and for their 10 year anniversary of making cameras, who knows what they'll have up their sleeve.
I'm excited! 

It's called Grid Type in Z9 settings, there's one each for stills and video:
https://onlinemanual.nikonimglib.com/z9/en/15_menu_guide_04_g11.html

I agree with @webrunner5 that aps-c cameras for sony are kind of at a dead end (at least until the whole supply situation clears up, which should be around 2035 or so, if we are lucky).
I have been waiting for a Sony aps-c mirrorless camera with 10-bit video since about four years ago. I got so tired of waiting I got the Panasonic S1 and S5 instead. 

Fujirumors claims no active cooling... alongside 8K that surely means overheating. 
As a pro, overheating is my #1 concern. With high-resolution & 10-bit manufacturers really need to factor in air cooling. All the features in the world doesn't mean a damn thing if your camera can't make it through the day without bricking.
 

The two new X-H cameras both use Sony Semicon sensors, they incoporate some of the latest technology from IMX610 (A1) including DBI and Sigma-Delta ADC.

My friend's new GH6 just arrived!

Kinefinity has an E-ND in their latest camera. I am hoping to see that from other companies soon.

ticoraw can support non-bayer CFA sensors too (X-trans too?) unlike prores raw
compression ratios offered @12bit are 6:1 and 12:1.
Intopix has nothing to lose unlike RED, rather they will gain more if they expand their services to all other camera companies.
My prediction is the days of ATOMOS and RED willl be over soon. Cinema cameras will be less enthusiastic and more hybrid versions will pop up from every camera company. RED trying auto-focus, and partnering with canon for RF mount seems like they understood they are losing their checkpoint (compressed raw codec).
i feel there are 2 bottlenecks for a camera to be more cinema /video oriented -
1)Electronic nd filter- the patent of forza silicon which has expired recently. 
2) Compressed raw codec- novel compression techniques like jpeg-xs tico raw are circumventing around RED's patents.
seems like clear path for the future for hybrid photo- cinema cameras.
If brands like Kinefinity, blackmagic, Zcam don't focus on auto-focus, an already shrinking camera market can hit them hard.
 
 
 

Into pix Tico raw is based on mezzenine compression technique based on Jpeg-XS.
Redcode raw is based on Jpeg-2000. 
Intopix has patented this technology. 
https://patents.google.com/patent/WO2019011944A1/en
 

 
 

Had the opportunity to interview Masanori Koyama, product planner for the GH6 and S1H:
https://www.eoshd.com/news/interview-with-panasonics-masanori-koyama-product-planner-for-the-gh6/
Hope you enjoy.