sam

The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). 
The new album (last I heard) was at No.7 in the official UK chart. 
I'm a big fan of what Panasonic has done with this camera. 
That said, the shining star of this video is the band. 
 

One way is to use these free tools.  At the bottom of the 3dlc page, are +/- exposure and +/- wb generated for specific gammas/gamuts. This can be done with lutcalc as well, but these are already made. Place these look up tables proceeding any other lut/transform, so the following recieves the values it's designed for.  Read up thoroughly on luts/transforms etc...if you have not.
Use camera man Ben's lut calc to transform from one gamut and/or gamma to another.   Xdcamuser is also a great place to learn about your sony cameras from someone who is  an actual expert.  Most of the talk here is quite simply the blind leading the blind. 
 
https://cameramanben.github.io/LUTCalc/LUTCalc/index.html
@Gregormannschaft
 
https://3dlutcreator.com/3d-lut-creator---materials-and-luts.html?pro=vvk&utm_source=google&utm_medium=cpc&utm_content=NEW-TEST&utm_campaign=PS&gclid=EAIaIQobChMIluzG-bnV2gIVW7bACh1M_g7UEAAYASADEgKD6_D_BwE

So he's used it for a couple of hours max, recording in a low stress nature setting with perfect natural light.
He proceeds to make a review admittedly littered with exaggeration.
Definitely fits in at Eoshd.
 
 
 

Robert, a few years ago, I felt similarly. Over the last year though, I've really come to appreciate color science, specifically what is beyond the scope of the usual color grading tools.

Do you and Kye share an account? You both have admittedly little experience, yet look at your posts.  Are you the student or the teacher?

Anyone else find humor in the irony?
Crappier defined by what metric? 
Some love god. Some love the devil. What's better soft or sharp. What's......get it yet?

Big camera on sticks, small camera on sticks. Doesn't make much difference in my experience. Same thing on a dolly. Handheld, sure, although I'll take a good FS7 shoulder setup to holding a properly rigged camera out in front of me all day. Gimbal...sure, a small camera is the ideal tool there. But gimbal shots are massively overused these days, and don't necessarily guarantee more interesting shots. In fact, I find many people I work with use camera movement much more effectively when stepping up to a larger camera, because it forces them to think harder about how and why they're moving the camera. And also because shoulder/handheld stuff has a nicer look due to the added inertia--a more professional handheld aesthetic, if you will. 
Also, big cameras just have more going for them. Comprehensive I/O, better image quality, more features, higher frame rates, beefier codecs, etc. More space means better cooling, more ports, bigger processors, etc.
I'm not saying a big camera is always the ideal tool, but the vast majority of the time it's not what's holding you back.

Why stop at the gh series? Just use a phone.

Why stop at the gh series? Just use a phone.

there are pen cameras as well, or button cameras.

all these examples are in daylight conditions.. skintone issues start to arise in mixed/artificial light if you're not super careful with WB/Color settings..

So he's used it for a couple of hours max, recording in a low stress nature setting with perfect natural light.
He proceeds to make a review admittedly littered with exaggeration.
Definitely fits in at Eoshd.
 
 
 

One way is to use these free tools.  At the bottom of the 3dlc page, are +/- exposure and +/- wb generated for specific gammas/gamuts. This can be done with lutcalc as well, but these are already made. Place these look up tables proceeding any other lut/transform, so the following recieves the values it's designed for.  Read up thoroughly on luts/transforms etc...if you have not.
Use camera man Ben's lut calc to transform from one gamut and/or gamma to another.   Xdcamuser is also a great place to learn about your sony cameras from someone who is  an actual expert.  Most of the talk here is quite simply the blind leading the blind. 
 
https://cameramanben.github.io/LUTCalc/LUTCalc/index.html
@Gregormannschaft
 
https://3dlutcreator.com/3d-lut-creator---materials-and-luts.html?pro=vvk&utm_source=google&utm_medium=cpc&utm_content=NEW-TEST&utm_campaign=PS&gclid=EAIaIQobChMIluzG-bnV2gIVW7bACh1M_g7UEAAYASADEgKD6_D_BwE

I love doc films like this most of all.  Exactly the tool for the job. 
When I watch narrative films, however, I want to escape reality. I don't want an overly sharpened, overly saturated, tiny sony sensor version of footage filmed with a camera whose image looks similar to the local broadcast news. 
Definetly going to watch this doc. Awesome trailer!

I don't think so.  In addition, it is often helpful for crew to be connected to the world outside the set, as, for instance, they might be expecting delivery of gear/expendables or waiting on the arrival of other crew, or if they are consulting a technical expert on a new piece of gear outside the set, etc.
 
 
Are you certain that  they have not consolidated gear nor prepped for the next shot?  With pro crews, a lot of that work is built-in to the process and is muscle memory.  Would you rather have pros who do their job without thinking and who, consequently, have free time to deal with any unexpected eventualities, or would you rather have inexperienced crew who must constantly focus on every detail and might miss something important or strike out when thrown a curve?
 
If you are genuinely concerned about whether or not they are prepped for the next shot, you can merely have your AD remind the department heads what's coming next.  If you do so, you will probably find out that the crew is several steps ahead of you.
 
By the way, consolidation of gear is usually automatic and built-in, because it it makes the work much easier for the crew and makes it easy to deal with unexpected problems,  and, most importantly, wrap goes much faster!
 
If you see a pro crew sitting around on their phones or twiddling their thumbs, it's probably because everything is done, dressed, staged and prepped, and they are waiting for the department head to give them their next order -- it's usually a good sign.  Also, if there are any sudden, unexpected changes, there is a free pro crew on hand to roll with the punches.

Some sort of FZ model looks like.  I've had a couple of these over the years as backup cams on my travel shoots.
Too much magenta.

What kind of filmmaker thinks he can just grab a LUMIX camera and shoot a film?  Don't people know you can't make a movie without accurate skin tones, non-oversharpened footage, good camera work, and a real microphone?
Somebody should tell this so-called "filmmaker."  He's obviously in way over his head! ;-)
https://youtu.be/jpjRQokeQNo
 

So he's used it for a couple of hours max, recording in a low stress nature setting with perfect natural light.
He proceeds to make a review admittedly littered with exaggeration.
Definitely fits in at Eoshd.
 
 
 

Sorry, I wasn't being clear, no criticism of you or your test was intended. I meant that you can see the effects of the rolling shutters pretty clearly in your test and at least for me, your results go beyond subjective judgements about motion cadence and into almost defect or definitely artifact territory. I think tests like yours are great, I'm just also (in combination with tests like yours) curious about tests that give the viewer the ability to judge more ambiguous qualities and see what they prefer.  I feel a lot of things like motion cadence are a mixture of actual effects (distortion, artifacts, etc.) combined with subjective judgements (taste, context, etc.). Carry on!

This is Sony's demonstration of their global shutter sensors versus rolling shutter sensors (presumably also Sony ones  )
 
This one is a comparison between two board cameras with global and rolling shutter sensors.
 
RED's Motion Mount can be quite informing about how this stuff plays with the same camera as it has enables their cameras to have variable ND but also gives them two global shutter modes, which they refer to as Square and Soft. 
So in demos like this - which is a repeatable pan under motion control - you are able to see the effect on the same camera between ND only (i.e. rolling) and the two different types of global shutter.
And from the same user, the effect when filming motion from a locked off camera.
 

Toss up, between Blade Runner and Shape,  but I would go with Shape,  it is just beautiful. 

Of course.  This is obviously just a quick way to get a basic understanding so one can make an informed choice.

My best guess is that he was smoking something while making assertions like this: 
"IMO, The Gh5 (even before the "s" model, SMOKES the C500." 
 

The pics are not even from the test. 
They are from a corporate videographers gh5, who claims the gh5 "smokes" the C500.  And for him it probably does. Less weight, hassle ect...
If you are interested in facts here you are. 
www.alfonsoparra.com/images/articulos/investigacion/digital_nohd/pdf/c500_en.pdf. 
For those that don't read:
12 stops for the c500 @ 10 bit.  11.68 for the gh5s "test"   We won't mention bit depth, actual resolution, raw, etc...
 

That would be a veritable treat. In my opinion that type of programme is precisely where the higher resolution formats excel.