Juank

Yes, at some point delivery bit rate formats become an issue at higher resolutions.  I've seen 100Mbps 4K 180VR that looks very good, and at the same time 6K 180 VR at 30Mbps that looks like crap.  FPS is a big deal too. I'm going to a lot of testing between 120fps 4K and 8K 60fps. There aren't many 120fps VR videos out there, and I think it could look really sweet (with a sufficient bit rate), especially in scenes with a lot of action.  I can't wait for my R5C, until then my Canon 5.2mm fisheye VR lens is a glorified paper weight.  I think I was one of the first pre-orders, so hopefully any day now. 

It was sponsored by a massive Crypto dot com ad as well....
Which is ironic considering crypto's deep involvement in money laundering, illegal activity, mafia states and governments, they are basically Putin's best friend.

Got the R5c today, checked the video AF and it locked on fine.
512GB only last 30min of 8k50p, on 5.9k 50p it last nearly an hour which is more doable.
Might have to use the speedbooster again for 5.9k raw 🤔
And battery life is much worse than R5, 4k50p last 40 something min so I guess I will be pairing with my 18w pd powerbank for long tripod shoot..
Btw absolutely no video on photo mode. You have to switch mode to do video and vice versa.
Body and operating wise it feels like mini c70 when shooting video, better balance with lens than R5 I reckon.
 

Yes, it is noteworthy, but it would be good to see some tests where the magnitude of the streaks is known.  ie, are the streaks 10-stops below the bright part of the image?  20-stops?  30-stops?  
If we knew that then it would be easier to know which situations you might encounter a problem and which you wouldn't.
This is the GH6 XYLA21 chart from CineD, and the curve from the brightest patch to the noise floor (the curve on its left) looks like it drops away into the noise floor pretty quickly, so I'd imagine that for the streaks to be visible above the noise floor maybe 1/4 of the width of the frame from the brightest areas (as in the image you showed) then the highlighted areas must be well above 13 stops or so above the flag.  That seems obvious considering the flag is pretty dark and the windows are completely blown to hell, so who knows how bright they actually are.

 
 

I don't know I am often needing dynamic range indoors when dealing with windows and often shoot at 4000 iso on my S1 indoors. Dynamic range in lower light situations is helpful, especially in the shadows which is where the DGO sensors seem to shine.
Yeah it would be nice if the GH6 had more dynamic range but its honestly very respectable and maintaining color accuracy throughout the dynamic range is more important than the dynamic range itself.

The S1H released with terrible NR baked in but it was later fixed. The S1 released without that issue and looks incredibly organic. The GH5 had the same NR issue upon release but was later fixed. The GH5 always did have a sharpened look, but the S1/S1H doesn't have that. BRAW has sort of a softer look, not sure why but its some sort of processing going on. If you shoot CDNG on BM cameras you'll see the difference in texture. It's a pretty subtle thing, probably doesn't really matter. Would be more apparent on the big screen like anything else.

The 150mbit 10bit codecs on the GH5 and especially on the S series are very robust. It smokes the 240mbit codec from the FS7. It's no contest. The flavour on S1, S1H, S5 also does well compared to Braw being equally robust in the shadows.
I was amazed by the Gh5 under good and moderately low light. S series have a powerhouse of a 10bit Long Gop codec. Panny is a big boss when it comes to codecs.

Thanks! Those streaks are from the star-filter that we used (for both pool, concert and club scene)
 
We took the Ferrari for a little spin!

Hi,
Just wanted to share my latest work which I produced and directed; a music video for Kygo ft. DNCE (Joe Jonas). It’s shot on Arri Mini + Arri Mini LF with Kowa anamorphic glass. I’ve been on this forum since I bought my (now retired) GH4 8 years ago.
Thought some of you might find it interesting ☺️
 
 

In the daytime, outdoors you really don't need to change ND settings very often unless you are in a forest coming to the beach! And with high end Cine cameras and ENG cameras you have had to Always fuss with NDs.
They are the best thing that ever happened. You Have to have them to maintain a constant shutter speed, ergo shutter angle. Changing aperture all over the place is not very desirable in video.

The kind folks at CineD report (from their testing) that the two base ISOs for the GH6 are 250 and 2000. The difference between those values is, conveniently (i.e. no fractions), 3-stops (250>500>1000>2000). So I would think the easiest field practice would be to dial in one's exposure settings at ISO 250, slap on a 3-stop ND, and up the ISO to 2000 to put the camera in wide dynamic range mode. No math worries there. 🙂
Of course, a camera using Panasonic's own organic sensor with its reported built-in voltage-controlled variable-ND that maybe-will automatically-compensate the internal-ND for ISO-changes to maintain-EV-settings would be super...but >cough< they decided not to put that sensor in this camera. 😉 Maybe they're planning something "truly big" for the Lumix 30th anniversary in 2031?! Ha!

Depends on what you prefer, zooms or primes? If you're looking to get the best stabilization you'll probably want to stick with Panasonic lenses, though I prefer Olympus lenses myself (even though I only own 1.)
The 12-35mm f2.8 and the 35-100mm f2.8 are both decent. Their Olympus counterparts are better, but you lose dual IS with them. They're not that different, they just feel better built, are a bit sharper, and have the manual focus clutch. I own the 7-14mm f2.8 since the Panasonic equivalent is only an f4. It is such a nice, premium feeling lens. But I own 2 of the 12-35mm and 1 of the 35-100mm Panasonic and I'm happy with them. 
For primes the 25mm f1.7 is a great value, the 42.5mm f1.7 is an excellent portrait/interview lens, and the 15mm f1.7 is also excellent. I have almost all the primes myself, but those are arguably the best bang for your buck as far as Panny is concerned. They have some really nice f1.2 and 1.4 but they're quite pricey. I've heard great things about the Sigma primes too. 

Yes, that was the one.
I don't think I would notice ANY difference between the all-i internal codecs and prores external unless I was keying, which i freaking HATE to do (I mean, I hate even trying to light a green screen so you can imagine what I am like at 4:00am trying to key around hair, but then again, I am using the 150Mbps 10-bit 4:2:2 Long GOP from the S1 or S5).

The GH5 is relatively unique in that it offers a good selection of ALL-I codecs, which I use and are just wonderful in post. I guess other cameras would benefit from this though, as not many other models/manufacturers seem to have this included.
Interestingly, I thought for the test I would encode and re-encode each codec over and over again until one of them started breaking down, but I setup ffmpeg to do that on a 1080p version (to save processing time) and after 8 generations on h264 IPB at the same bitrate as Prores HQ I had to pause because the file looked the same.  At first I thought that ffmpeg was being too clever for me and just copying the stream instead of re-encoding it, but when I zoomed in crazily (something like 800%) there were subtle differences.  So really, all else being equal and when given enough bitrate, they all do a great job, so it's really the other factors that I highlighted in my post that are the deciding factors.
I suspect you are talking about this video?
This is probably the part you're referring to?

I found it hard to tell TBH, even with it moving, but that is a comparison between Prores on the Shogun, which is either HQ at 700Mbps or Prores 422 at 471Mbps vs the GH5 codec which is 400Mbps, so there's not much difference in the bitrate there.
The 400Mbps is on the high side compared to most cameras bitrates, and with the GH6 in 5.7K they'd be looking at 1500Mbps or 1000Mbps, which are significantly more again, so the bitrates really are pretty serious.
TBH, there's a point in diminishing returns with bitrate, not just because of accuracy vs bitrate, but also that if you multiply the resolution and bitrate by 9x (1920 x 3 is 5.7K) you're not increasing the size of the screen that the viewer will view the image on, so actually, once there is sufficient bitrate to render the screen to a certain optical quality it doesn't really require much more if you increase the resolution on the same display, or at least, it doesn't need to increase by a factor of 9.
Of course, if you're doing green-screen or other hard-edged keying, cropping in post, stabilising significantly, compositing and other VFX operations then that's a different story, but those are specialist applications and not general ones.
 

The main advantages of ProRes over H.264 and H.265 are smoother playback and better facility for bouncing down to further generations.  Its designed to work really well in a post production environment, which it does superbly in my experience.

Its no surprise at all that the codecs look similar at the same data rates, in fact it is H.265 that you would expect to look the best as it is the most efficient encoder.

Of course H.264 looks good at reasonable data rates.  If it didn't it wouldn't have been utilised as an acquisition codec by just about every manufacturer under the sun at some point.

The point is that IPB codecs are horrendous in a post environment.  People are excited by ProRes 422HQ in the GH6 because, unlike the other two codecs, it is *guaranteed* to have high data rates (1.9 Gbps is what they are saying), and it will fit straight into our post workflows.

S1 (so S5 and S1H) gives me incredible low light quality. Never had FPN but never underexpose by 5 stops in lowlight. 🙂 I underexposed a good deal and recovery from the Long Gop codec was spectacular to me.
Still, the GH6 looks extremely tempting to me. What I also love is to have the mode dial at the right hand where the shutter button / record button is located. Whereas for my S1 I have to reacht left for the mode dial. My little GX85 has it on the right side and it just feels right there for a hybrid. 4K 50p 10bit 422 Long Gop and All-I on the GH6 with juicy bitrates are very tempting indeed.
ISO 6400 give more detail than the GH5s as shown in Jordands comparison with the SH1. If I was in the position to buy a system camera for video I would go for the GH6. Actually I would wait a bit to see the footage coming out of it. If the digital edgy sharpness of the GH5 is gone it would be a no brainer for me if buying a new camera. I just don´t buy new cameras usually though.:)
Kye in a BTS shot is quiet a sight.:) @kye

I do...  but I'm not about to jump around saying that it's a critical feature for everyone.
I think it's about shooting in available-light.
I currently own a GH5 and have f0.95 primes to get as much light into the camera as possible, but it's a stretch.  I shoot auto-ISO so I don't know the exact values, but I can tell you that I've pulled the camera up to my eye in a low-light situation and as I've adjusted the aperture from F2.8 (which it might have been during the day) to f095 I see the image go from looking like the worst colour science in the world to looking lovely with rich colours and a nice contrast.
Here's a few previously posted frame grabs that show the lighting conditions.
This was maybe 50m or more from the banks of the river and the only lighting was the lighting from the shore:

and a BTS of that shot, taken with a smartphone camera:

Another:

I find that essentially the GH5 sees slightly better in low-light than I do when paired with an f0.95 lens, so it is an equivalence to human vision.  
Unfortunately, getting lenses that are still sharp at f0.95 is very rare, and also you have no head-room for seeing anything that is hard to see with the naked eye.  There's still heaps of noise in those images though:

IIRC this was shot with the 4K 150Mbps LongGOP codec on the GH5 in HLG, so there's already likely to be NR applied in-camera and also some detail loss from the 150Mbps codec too, so in reality it was noisier than this.  I might have even applied my own NR in post on this image already, I can't recall.
So, it's unlikely to be at baseISO here, which means that the image could have been better with better low-light.
Once again, I'm not claiming that everyone needs amazing low-light, but I certainly use it and will benefit from the improvements in the GH6 over the GH5.

There isn't any 25MP MFT sensor leak or Information of any kind. Usually there is some kind of Sony product paper out there. So my guess was it could be manufactured by Canon. Why? It's most probably BSI and it has a form of DGO of some derivative. Unless Canon isn't manufacturing their own BSI sensors? Is the sensor in the R3 a Canon manufactured sensor or Sony (there were rumors they were perhaps having Sony do the fab)?
On Semi doesn't have any 4/3 sensors listed on their product page. I doubt they are the provider.
That leaves Samsung as a possibility.
I feel like the A7SIII was hyped to the max but it honestly performs pretty badly between its native ISOs. Kinda weak codec mushy stuff as well. Side by side against the GH6 it looks like crap as far as useable detail. GH6 has the detail without being over-sharp looking. Honestly, the image looks pretty damn good. I wish it had better AF because it would be on my shortlist.

This was posted already, but this is the Vimeo version, which looks better to me on screens larger than a phone.
I really think this thing is a winner. I do wish it either had that home run feature like internal nd's, or near top of class autofocus, but all in all Panasonic has done an amazing job with this camera. 
 

Shooting video at f22 is gonna be a thing.
Yup, that shallow DOF is sooooooo 2021.

CineD botched the dynamic range testing on the GH6. They measured the GH6 in non boost mode at 800 iso when the native is 250 iso.

The GH6 even in non boost DR mode has more dynamic range than both the GH5S and the GH5.

Cined really needs to get their act together. They are currently claiming the dynamic range in non boost mode is the worst of any modern M43 camera. Kind of a turn off for people who want to use 4k 120p. WTF
 
The GH6 looks better then the competition in the shadows. The S1 takes the cake for highlights. I love highlight retention I just like having an even balance of highlight to shadow detail.

Also when talking highlight detail the RED Komodo, which is seeing a ton of use on all levels of production, actually only has a little over 4 stops. So the GH6 isn't doing bad at all.

There is only some truth to this Mr Runner, and I respectfully make my case. 
I have yet to watch a singular spectacular movie or short film or documentary and then thought to myself, that is so good because of the sensor size. And I'm certain not a singular typical nontechnical layman movie goer has ever thought that either. I do realize that as technicians, we may make decisions based on the tech, but I propose that the size of the sensor is far less important than we often make it.
Consider that all of the best movies we've ever seen were shot with s35 (with a few admitted outliers). Consider that many great pieces have been shot on s16. M4/3 is already larger than s16, and speed boosted is at least similar/same as s35. I personally consider the sensor size one of the features of m4/3. The horizon of lenses that are open to me at m4/3 is unequivocal at any larger sensor size, including factors such as physical size, focal range, and anamorphics.
I concede that there are definitely other factors where sensor size does in fact play a critical role, but if we were genuinely honest with ourselves, it is not nearly as often as we pretend.
Where the GH6 is once again a failure is autofocus. This is not to say that it's autofocus is bad, because it isn't. But it is not good enough. I would actually propose that this issue is also a bit more trivial than we make it, but because of it's inability to lock rock steady and hold, it will be a pass for many, and I'm afraid too many.
If there ever is an official death of m4/3, I suppose it will be blamed on sensor size, when in reality it is because the GH-frickin-6 didn't nail autofocus.
Make no mistake, I may still buy one. For me, the advantages are far too great to overlook. And quite honestly, even it's current autofocus design will work near flawlessly for roughly all of my purposes. 
But cheesy crust, Panasonic please figure out a firmware solution that ends this issue, or I'll be one of far too few buying your dinosaur gone extinct for none of the suspected reasons. 

@kye I'm at risk of slightly derailing this thread and for that I apologise, but here's what I'm talking about

Top: WB in ACES (every stop is evenly warmed up)
Middle: reference
Bottom: WB in Lumetri (the warming correction is concentrated in the highlights)

By definition Depth from Defocus (DfD) achieves focus by this pulsing of focus. I’m not sure you can completely eliminate it…except for…you know…using phase detection instead.
 
Matt also had good answers on the livestream about how the fan is engineered. The fan doesn’t have a traditional motor and drive shaft but instead uses magnets to spin the fan from inside the case without any connection. Pretty neat.

Cool camera. Finally a m4/3 response to the P4K from a major manufacturer that makes shooting simpler. Sure I wish it was a little cheaper... I'm a cheapskate. But it's better than the rumored price... so that's something.
If Micro 4/3 is dead... then MAN... this is an honorable way to pass.
 

Why? It has hardware in it to do ProRes encoding. Not that much of a stretch to think ProRes RAW is in there too.