Juank

This camera takes SDXC, and let's get real for a minute: raw is wholly unnecessary for 98% of the camera's target market. 
The Varicam LT may be 'only' a few thousand more - but Starr factoring P2 cards and the price jumps drastically. And since when does the LT do raw internally..? 
The FS7 doesn't even have a proper EVF. Stick a loupe on the LCD and voila - you've got the same solution as the FS7. 
You know the URSA Mini also doesn't come with an EVF? And really, the 'back of the body' EVFs on the C series and FS5 are next to useless.
But sure, feel free to denigrate a camera based on the cost of wholly unnecessary accessories

The C200 is in reality a crippled camera that aside from raw (and let's wait and see how well/badly it is implemented) has a shitty shit shit codec inside it.

Yup, that's the major "if" at this point. I've learned not to trust paper specs. The proof is in the image. 

Boy do people like to complain. A camera is announced two days ago with a feature and you expect every other camera to have it? We're also talking different recording media than the C200 and Blackmagic. Different ecosystems can support different things. It seems like they're trying to push as much into this ecosystem as possible, while keeping the "real" costs of a full kit as manageable as possible. And everyone's losing it over the internal raw of C200, yet the reality is that 98% of the time that raw is used will be in a controlled environment where external monitors are the norm and an external recorder isn't a big deal. And if you start factoring in the difference in SSD costs vs cfast... well, cost-wise the playing field starts to even. The weirder thing would be building a small camera that's perfect for doc and indy uses, shoving raw internal into it, an old ass 8 bit codec, and nothing in between... and no way to get non-raw 10bit... even from the output...

The best optical  standard zoom I've used so far is the Olympus Zuiko Top Pro 4/3 14-35mm F2.0
Second would be the 24-90 F2.8-4.0 Leica Vario for the SL.
 
B

The front of the HCDNA does not rotate, the Kowa to the Ultron with the RedStan clamp (with small srews).

Yes, less is more. The lenght is not so much, the weight is more. That makes the combo also more stable. The Ultrom works fine with the Ultron. But be carefull, there only 3 little screws on the back of the lens that holds your camera. You cannot walk aroud, you need a small rig. I don't have helios lenses and at this moment no ND filter. Step by step ... Soon I will sell another lens and then I can spend a little for something news.

The complete setup with hardcoreDNA (HCDNA + C35 + Ultron 40mm + NX1). For the mic I am using Audio Technica mixed with other parts of VideoMicro. Needed only a minimalistic rig.
..... Time to make films

 
 
 
 

When the C100 was introduced some 4 years ago it was 52 000 swedish to buy the body only. Today I see them go for as low as 12 000 on the used market.
So.. in 2021 a C200 for roughly $2-2500... or maybe even lower with the way the market is going and how saturated it gets.

Another effect might be a massive drop in the used prices of rivals like the Ursa, FS5, FS7, LS300, etc. 

I imagine alot of RED's budget pre-orders are being cancelled today.

Does it have positive locking EF mount? Can't tell from the pictures but for 9 grand it's mandatory if you ask me.

My video of Patagonia with the GH5
 

Kholi finished the Comet Color LUT for V Log. It's not supposed to emulate film or any other camera. Just a specific look, similar to the one's he made for Blackmagic.
 

So buy ND filters... there are many to choose from for the Mavic.

+100!!!
in camera LED screen or EVF desqueeze would just be one of those out of the ballpark features!!!

Ken, but can anyone take that guy for serious? ; )
1) What sharpness settings to begin with?
2) Most part of his footage is HFR 1080p;
3) YT comments disabled;
4) Look the way he shows off the wife...
As much as his clueless lighting and hablando del rey de Roma, things really require much more effort (I'd dare to add my comment as inferred above-posted).

Yeah, seems the GH5 is still struggling with yellow/orange/green, which it always seems to exaggerate, especially at somewhat higher ISOs. The BM is much less biased... a whole lot smoother in the tones. Still though, not a bad job by the GH5. With very slight corrections you can beautify that shot quite easily. Skintones on Panasonics have come quite the way, I must say though, quite the improvement there.

I was thinking about moving to Resolve, some time ago, but it didn't have some of the features I needed for editing. Premiere is unstable sometimes, but Resolve just didn't offer the features. I'm intereseted if it does now. I'd really appreciate if someone could give ma an answer about these things:
 
1. Does Resolve have decent audio features like compressor, limiter, expander?
2. Does Resolve have saveable presets of effects, which can be dropped on clips anytime?
3. Customizable keyboard shortcuts?
4. Customizable window layout?
5. Maybe keyboard shortcuts for applying effects or effect presets? (Premiere doesn't have this afaik, would be a very welcome feature for me)

Definitely the GH5 footage I was looking for...... Greta location. Art Design and "Mood" created. Watching on a 2.5k Monitor and looks LOVELY, very good job and definitely would recommend this camera based off of this footage (if this is any indication of what is capable , Panasonic has something Special here).

Hey Luke, just watched this video again and I must say I may be more impressed than the first viewing. Were your opening shots a time lapse or were they done in post?
Also... any chance you and the wife would consider making a director's commentary for this video... would love to know the details. 

After the DVX200 came out, I bought it. To be honest, I wasn't experienced at that time with settings, tweaking and getting the best results of a more advanced camera, but my experience was a desaster:
horrible, piggish colors when speaking about footage out of the camera ("as it is"), though Panasonic advertized the device as good for news gathering and documentary shooting though I am not a pixel peeper, the DVX200 had horrible - and visible -  noise even in daylight footage and good lighting (without contrasty situations like contre-jour), e.g. in tree bark and leafs... After seeing in some forums many other people facing the same problems and a Barry Green first claiming the people complaining "have to learn to handle the camera" and - after many complains of pro and broadcast shooters -  claiming, that filmers have to use V-Log to get usable results, I was shocked by such brazenness when speaking of a camera (that time) costing about 4.500 Euro in Germany, advertized for what I did. I returned it after 6 days and I was not the only one who did this. Never looked back.
After some firmware upgrades, they made the DVX200 better, noise got less and the color science (OOC) got more pleasant indeed. The attitude of companies pocketing immediately buyers money, but claiming to deliver the advertized features with an update later or in "next future" is unacceptable in my eyes. Though I still use two Panasonic cameras, I am done with this company in regard of buying a professional film or video camera from them without testing it excessively. Buyers are NOT beta testers for impertinent PR morons and marketing liars...
@Marketing morons: Don't praise too much theoretical specs and bells & whistles - show me the advertized features, ergonomic, handling and results first, and then I'll give you my money.

Yeah and also thanks to Canon EOSHD is still relevant 

@webrunner5 We obviously talk about a variable sensor, not a m43 one. I do not own or have any m43 glass or cameras while I have a lot of different lenses for different mounts, I just express the versatility of such a thing, and why not, but use some m43 glass too (even though we use EF lenses with LS300 right now!) with a smaller, and all around camera like the GH5, or other.
I thought that JVC is owned by Panasonic by the way, and I do not think that having a sensor, and take parts of it is copyrighted or whatever!
That would be an obvious upgrade for a lot of m43 users that started video productions with the GH series cameras, and would help (or at least support and defend) their native sales too. 

@Neumann Films That was really nice! Good work. I have been waiting to see more serious anamorphic footage out of GH5. And now they released even the 10-bit option which is great. Only if it could shoot a little more slowmo than 50p. Like 100fps in anamorphic mode would be great.
You used IBIS in those handheld shots, right? How did the camera work with IBIS and anamorphic lenses. Did it make any weird shifts or corrections it shouldn't because of the anamorphic glass? Or did it just work perfectly? I assume you used IBIS setting as 35, 50 or 75 depending which lens you used.
Those SLR Magic lenses definetly focuses quite close. Or did you use some diopters with them?

It looks great!...as does the design!...beautiful production value in your film, and the GH5 delivered as well!...can I ask which of your LUTS you used?