Juank

All you have shown is that the GH5 is unsuitable for EXTREME GREEN backgrounds and SHIT looking images.
Anyone can break a file.
I can break the Alexa's files!

Yes.
There are two polls running on here for features and controller choice.
So its very close now. 
A bit delayed because there will be some different hardware that its going to run on so I need to re-write stuff but its weeks rather than months.

The GH5 is a compact sedan with a ferrari engine in it but sometimes you need the whole ferrari. In this case, that means the features and form factor of a real video camera. Against Canon and Sony in the price range, this has dual native ISO, 5.7K sensor for both oversampling and eventually 5.7K raw, 2K up to 240fps, electronic stabilization, and a lighter body.
Having said that, the EF mount really kills the draw for Sony shooters who have been speedboosting or using PL. This is the single biggest drawback they could have easily avoided. 

Please Andrew, if you can talk to panasonic people, ask for an "anamorphic Ibis mode" (where there is no roll axis movement of the sensor) because it is so bad for the vertical alignement of the scopes.

I will be putting a good word in for you with Panasonic
Hopefully they will do the extra stretch factors, we need 1.5x as well for Iscorama!
Awaiting the anamorphics Brian... To say I am looking forward to seeing what you come up with is an understatement

Yes it is possible to use 4:3 as a normal recording mode and crop to whatever aspect ratio you like, such as 16x9
It is only just dawning on me for some reason, that they added a 5K video mode, haha.
Just like that! Bang, first 5K mirrorless camera.

They are really on the ball. I feel the respected as well and they have really supported EOSHD with this roll-out of the firmware.
I feel every penny of the investment I made in the GH5 has been rewarded with this update, and the ALL-I codec is stunning.
This is a Hybrid Log Gamma / TV thing, you are best off using H264 for everything else especially the 400Mbit ALL-I. Due to the high efficiency of H.265 it only needs half the bitrate of H.264 for the same quality so it is good for saving space, but it doesn't quite have the filmic motion and fine grain of the ALL-I H.264.

Woawww
you are getting great result         keep going
 
 
 
 
 

Low light anamorphic test Schneider ES Cinelux 2x (custom single focus) with external IRIS 20 blades
.
Camera:
Sony a6300 (Slog2, SGamut3.cine, ISO 3200)
.
Anamorphic:
Schneider ES Cinelux 2x with custom single focus
.
Taking lenses (wide open, external iris):
Helios 44m-5 58mm F:2
PO-109-1A 50mm F:1.2 (projector lens without build-in aperture)
.
 

So what did people settle for by now? I'm considering getting a cage so I can mount a quick release plate via 2 screws but also to occasionally mount accessories like a field monitor, video mic or a top handle.
Looking at the market currently has a bunch of stuff but some prices are just silly for what a cage does (is it so expensive to CNC a piece of aluminium?) or badly fitting.  These seem to be the currently as of this post available cages I could find with a link to their product page (of existing) and a subjective opinion:
8Sinn http://www.8sinn.com/index.php/8sinn-gh5-cage.html - Around 199 $ for just the cage alone (ends up at 220€ in Europe).
CameTV - 298$ but comes with a riser for rod and a top handle.
Chrosziel http://www.chrosziel.de/neu-system-700-gh5/?lang=en - 295€ for cage and top handle, has an integrated Manfrotto compatible dove tail
JTZ DP30 - Minimum configuration is the cage with a top handle, riser with rods. Very modular as camera to cage, cage to riser and riser to base plate have quick release connections (looks more Arca Swiss than Manfrotto though?). Difference to other cages is that the cage has electronic connections with camera and top handle (and optional hand grip kit, etc.). Starts at 359€.
Lockcircle https://www.lockcircle.com/store/?p=robotskingh5 - Half-cage alone is already 439€, 539€ for full cage.
Movcam - Looks like a copy of the slightly earlier released 8Sinn cage, also roughly same price it seems.
Seercam http://seercam.com/shop/cube-gh5/ - Starts at 250$ for cage only. Has an integrated dovetail for their optional rod riser.
SmallRig http://www.smallrig.com/smallrig-dslr-cage-for-panasonic-lumix-gh5-1965.html - I had the A6300 cage and that was great for the money but this one seems to fit rather poorly on the grip side. Is it comfortable to hold it? Also got mixed reviews regarding access to the top control buttons. 89$
Tilta https://tilta.com/shop/tilta-panasonic-gh-series-cage-es-t37/ - 350$ and comes with cage, top handle, rod riser, screw-on rod holder and HDMI clamp. Camera mounts into the cage via quick release plate.
Varavon https://varavon.com/products/zeus-gh5-cage?variant=40977115270 - Cage only incl cable clamp comes for 219$.
Zacuto https://store.zacuto.com/gh5-cage/ - Comes with a hand strap and is going to cost you 495$.
...and then there are of course all the generic cages and half cages that are just a aluminium square to mount your cam into or are two plates connected with 15mm rods for height adjustment.
You could say there is something on the market for everyone, different form factors, features and prices points (~ 90 - 500$ for the cages alone). What is important though: not all of the cages allow to use the XLR audio adapter on top, especially when using the top handle.
I really like what Tilta and JTZ DP30 are doing by having the camera mount into the cage on a quick release plate. This allows you to quickly take the camera out of the cage and slap it onto a gimbal where even the small weight increase of the cage might be a deal breaker. On the other hand there is something to be said for really form fitting cages like 8Sinn and Movcam.

Adding paint on more paint - the Minolta 58 1.2 plus the Bolex - this time with a Novoflex adapter - for hopefully more critical focusing - but yep still hard to nail it. This is a sweet vibe - almost too much for stills but certainly has hope for the motion world. Yes soft - but the OOF areas look so different and organic - and the flairs can be radical - almost futturistic and techno......

Sorry, yes, it's the 0.64 XL Metabones I have.
Oh, yes, things are in focus.  *8^)   And yes, I shoot it at 1.2, though, i guess the B&H Kowa 2X would be the limiting factor, no?
I use the Rokkor 58/1.2 for the character.  I have yet to do any real work with this combo, just play. 
I am just a hobbiest, and suffer from a full time max stress job, so, I am still learning all of this.
Here is a STILL I took - Panasonic GH5 - Minolta Rokkor PG 58/1.2 EOS mount- Metabones 0.64XL Speedbooster - Bell & Howell Kowa 2X - cheap 4+ diopter
The full sized image dimensions are - 10368x3888

Hmm, looks horrible against a white background.
Shrug...

With a speedbooster XL the gh5 has me questioning my 1dxII - better files sizes, ibis, small size, flip screen, and the colors are nipping on Canon's heals. 

Wow, this is cool!

Test with external donor IRIS 20 blades (Industar 51), placed between anamorphic lens (Schneider ES Cinelux 2x with custom single focus) and taking lens (wide open).
Camera: Sony a6300 (with other setups needed tests, present vignette or no)
Taking lenses:
Helios 44-2 58mm F:2
Carl Zeiss Jena Pancolar 50mm F:1.8
PO-109-1A 50mm F:1.2 (projector lens without build-in aperture)

Thanks for sharing this information.
I really like my GH5 - Metabones Speedbooster 0.67XL - Minolta Rokkor PG 58/1.2 EOS mount and B&H Kowa 2X combination.
I use the great Rapido anamorphic lens clamp V2.
I recently purchased a Porst 55/1.2 in Pentax K mount.  Need to get a dremel tool to mod certain parts of the mount to have this fully useful for my configuration.  Hope to do this soon.

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

A few more lenses tested - Contax Zeiss 85 / Pentacon 6 Zeiss Medium Format / Porst Colour.....

Heres some with the Minolta MC 85 1.7 - similar kind of flares as the 58 1.2 - perhaps not as crazy. A weird vertical flare is produced. Again stopping down helps sharpen the image but does loose that funky rendering - like a painting at times. F4 seemed to be a sweet spot. I think this would be a great portrait lens.

Heres a few lenses tested in stills mode - The Sony Zeiss 55 1.8 is sharp as - where as the Minolta MC 58 1.2 is loose and funky as hell. I need to get the Novoflex Minolta adaptor to iron out some of the issues - most of the funk lies at 1.2 - stopping it down reduces the life out of it - I think at F2 a happy medium can be struck although you loose those blacks which have that nice veiling flare.

wow 
good job Dr
lovely shots and nice mod !!!!

Schneider ES Cinelux 2x (Custom single focus) | Carl Zeiss Jena Pancolar 50mm F:1.8 | Sony a6300
Some shots with varyND. Early test, needed to learh how to achieve best result with this setup
 
 
DIY-body...
 
 
 

and few stills at Helios 44-2 F:2 and...
 

 
...Carl Zeiss Jena Pancolar 50mm F:1.8


 

I am pretty sure Duclos no longer service Lomo lenses (parts difficult to get & quoting on repair time and cost difficult).Here is a quote from Matthew Duclos back in 2009 when they were servicing them 
"Lomo lenses range quite a bit in age and style. Most of them being acquired were built in the 70's and a few from the 80's. This makes them nice and cheap and many people are taking advantage of that (good for you). But that doesn't change the cost of labor when servicing the lenses. Rob was right, it is costly to service Lomos. This is mostly due to their poor build quality. While servicing, the set screws tend to break off and require even more time to remove. Many of the components inside the Lomo lenses are hand made (not in a good way) and don't always fit correctly. Don't get me wrong, they are great lenses. But they are very costly to maintain. I'll give you an example... I just serviced a Zeiss 35mm MkIII Super Speed and billed the customer for 4 hour. 
I also recently serviced a Lomo anamorphic that we billed the customer 8 hours.
So... my point is, they are cheap to buy, but costly to maintain. And they do produce nice images ;)"

Wrote up a little guide for people new to this and looking to buy their first recorder. And is the way I see the world of low budget recorders is they're ranked like this (starting from worst/cheapest to best/expensive):
Tascam DR22WL / Zoom H1 (I'd suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! :-o Shocking but true... everyone starts somewhere!)
Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist)
Tascam DR70D (the *minimum* I'd recommend for a location sound recordist, even if you're just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I'd just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn't come out until a few years later...  you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price)
Zoom F4 / Zoom F8  / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I'd see you're now reaching the semi-pro level)
Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the "industry standard" when it comes to recorders people use for small shoots, especially when mixing from the bag. If you're doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this)
And if you considering ones priced above those last three....  you're surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! :-P But yes, tonnes and tonnes more options exist at the higher end as well!
Finally, if you're considering something in the budget range within what I just covered, but isn't one of those that I mentioned, then it probably is *not* a good idea to buy if you're intending to be a location sound recordist. 
Something else only might *maybe* make sense if you've got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you're the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if "the price is right".
For instance I didn't include the Roland R88, as I feel it is extremely poor value for money in 2017! However.... there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn't a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming. 
Anyway, that was just one example which might have been applicable but isn't now, so I don't rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won't be applicable, and just stick to going with one of the main ones I mentioned earlier.
 
http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/