TrueIndigo

Is amazing. I love it. Never going back to RED unless I’m forced to by a client.
Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

...and a few days later, I'm keeping it after all.
In fact, a pair of them are going to be my main workhorses as I intended.
I have been trying to find a workaround and not just a 'kidding myself' fix, but something genuine.
I looked at both the HC-X1500 camcorder and the bridge camera (for my static manual and occasional but important AF needs) but just know that based on my current 1" sensor Sony camcorder, the footage is going to be shite. And it's still contrast detect, so nah.
Back on to the stage comes a used XT3 body and I already have a Fringer and 17-50mm f2.8 Sigma so for all my static manual focus needs, et voila and for the 1 minute or so on each job when I also need AF, et voila encore.
As I may have said before, I love this camera (the S5) in every way except the weird pulsing in AF mode but otherwise there is something just 'right' about it. That combo of size, weight, ergos, dials, buttons, operation and of course quality of both video and stills files.
Just need some projects to use the bugger on now...

Kaboom, it's arrived!
Sorry, no YouTube unboxing video or reading of spec list, just an initial impression whilst the battery is charging.
I've come from 8-9 years of Fuji as my main cameras with some dabbling in 1" Sony and M4/3 Panasonic but have otherwise never owned a full frame mirrorless before.
I had Nikon DSLR prior to Fuji for stills with a D7000 for filming...but things have moved on since 2010!
First of all, it feels superb in the hand. In terms of size for handling and my use, just about perfect.
Weight, perfect and I currently have the 20-60mm 'kit' lens attached I bought it with which will become my personal travel lens and my stills work wide angle.
Build quality. Well all my old gear has now been sold but I'd say it's all a step up from Fuji and I had no complaints about that, but the build and finish are superb and the way the dials click and operate etc.
Next up, some stills and video tests to get a feel for how it all works etc and that all important AF test..., but so far, it's all looking good!

Do you mean 10K as in a sensor 10,000 pixels wide?  I'm not surprised by 8K video but that's crazy!  That would make it, what, 75MP??
Or go cheap and use FF lenses..  I use an FD 70-210/4 with 2xTC on MFT to shoot my kids sports games.  Even the GH5 IBIS struggles with that - 840mm equivalent.  
Or here's the same optics on the Micro:

I haven't used this setup yet, but when the sun starts to come around where I can see it hit the horizon again, I might return to my sunset project and record some RAW video.  1209mm equivalent!!
At that focal length even the solid limestone wall I use as a tripod can't protect the image from people walking nearby.  The GH5 in action.

Thanks guys, it was the hardest news of my life. Fortunately, he's doing well, with almost no side effects despite two cycles of Folfirinox. Its a marathon, but an encouraging start

Hours and hours of diffraction.

As you can see, I'm managing to combine both at the moment.
I do have a couple of ideas about how to do something interesting regarding the multiple exposures but not necessarily conventional approaches....

A peek for you of the first shot from the GFX 100 shoot with @BTM_Pix
Edit is ongoing!
This isn't "perfectly" in focus but it'll give you an idea of the kind of creamy 10bit tones from this "medium format Alexa".
The dynamic range is extreme.
This was shot in classic chrome. I shot a lot of F-LOG and the files are deeper than Oscar Wilde.

I often look at the 4 or 5 cameras in my bag and think “this cost me far too much and they’re all the same”. Then I have a cup of tea and try to forget about it.
Yes it’s true, the full frame market is overcrowded and image quality differences between them are getting smaller. What about selling 3 or 4 of those cameras, I thought to myself… And consolidating them into one giant mad one.
So this happened…
https://www.eoshd.com/filmmaking/inspecting-the-fuji-gfx-100-and-having-a-cup-of-tea/
 

Sage, why does the 10-bit HLG profile use the reduced range of 64-940 - wouldn't the extra tones in the extremities be an advantage?

I think the GH5 is a sleeper camera, along with many others like the UMP, C100, etc.
These cameras are good enough quality so the images easily meet a professional standard, aren't fancy or odd enough to be bragged about, and aren't used on large productions that have interviews with the cinematographer.
People talk when someone shoots a feature film on an iPhone because the perception is it's not good enough.  People talk when someone shoots a project with a camera that is fancy or odd, or when the camera doesn't traditionally suit the project.  and if a film has a huge budget and wins awards then everyone gets interviewed and there are four paragraphs about the lens choices and the phrase 'colour science' gets mentioned.
But when someone shoots a documentary / ad / training course / low-budget series / short / or indy feature with a sensible and capable camera, there's no press about it.  That's the GH5, XT-3, UMP, C100, etc etc.  
I would be very curious to see what percentage of all edited content consumed is shot on these types of cameras.  I think it might be a quarter.  But that's the point - we'd never know, because it's not remarkable.  Therefore no remarks are made, and we don't hear about it.
These are the cameras of the people quietly working outside the limelight and delivering good quality content.

Me too.
In fact, when I bought the GH5, one of the things that made me choose it was that it removed the equipment as being a potential limitation on what I am able to create.  Or, to put it another way, the GH5 is better than I am in every possible way, and I think may never put a limit on my ability to create.
Now, I may buy new cameras in the future, (in fact, I will have news very soon) but I will never be buying a new camera because the GH5 is a limitation on my work that I want to progress beyond.
I won't speak for other people, and certainly in Hollywood and the upper echelons of talent, the GH5 might be quite limiting to the artistic vision that others have.  But for me, it's like buying a Porsche 4WD and only driving it up the street to the shops to buy milk.

Yeah that's what I'm seeing too. Personally, I'd go with the GH3 over the G6. But I never found Panasonic's focus peaking to be all that great anyway, so it doesn't really matter if the GH3 has it or not.
On a side note...
Begin rant...
There was something special about these cameras and what people were using them for. Today, everything is about corporate videos, or content creation for YouTube or IG, back then it was about guys or gals with a camera and what they could shoot with them. People were pushing the boundaries with what the cameras had. Today, it's complaining about what the cameras don't have. 
Don't get me wrong, I'm just as guilty of it. But I miss the days when I was so excited to go and shoot with my eos-m or couldn't wait to see the release videos from the GH3.
I've been wanting a second camera for casual shooting for a while. I bought a BMMCC in the summer because I always regretted selling the first one I had. I paid $400 for it and $100 for the Ikan VL35 monitor. The problem with it is it isn't really good for casual shooting but for the price, it has the technical qualities and IQ to make a superb indie film with. Yet I still bitch that it isn't handheld enough, or the crop factor is annoying. I remember having a camcorder and I didn't care what the lens' focal length was... I just moved back or stepped closer if I needed to get the shot.
And I think that's what's cool about these older cameras, whether it's the BMPCC or the BMMCC, the GH2 or the GH3, the G6 or the G7... even if it's the t2i, they all have a unique look. They're not trying to be an Alexa... even if the Pocket has been called the Baby Alexa... they were just tools for filmmakers to tell their stories.
So with all that said, I think I'm going to revisit my BMMCC and if it is too much of a hassle, then maybe I'll look for a GH3 or maybe even a G85 and shoot in B&W so I don't have to mess around with WB. The point of these cameras are to have fun with them and push the boundaries of what you can do with them... for me... sometimes that's enough.
End rant.

I bought a Pentax K5 for our EOSHD cheap camera challenge. But I am lazy so I did not get round to editing the footage.
It's a charming little thing with 1080p MJPEG at reasonable bitrates and gorgeous colour
Ergonomics are nice... Still totally not a hybrid camera, but the RAW 16MP S35 stills quality stands up today even if video doesn't!
IBIS!
Crazy AF in live-view that ZOOOOOOMS the screen while wirring loud screwdriver in lens mount, and making me laugh.
Freakishly good build quality.
Excellent top LCD.
K5 users really got a lot for their money and I feel if it got any attention in GH1 days, it would have been a contender for image quality even in 1080p and surpassing it for stills by quite a bit.

Also recently got a GR III
This is a gem for stills, just wish the AF were faster.
Much smaller than X100F and RX1 II
And the lens is superb.

It is 2020, a year which marks 10 years of EOSHD this month!
Those 10 years have flown by.
I'm wondering how the filmmaking landscape for gear has changed since the GH2 days.
What are you shooting with now?

One of the best YouTube channels I know
An interesting experiment

Obviously, for me it's the 5D Mark III and Magic Lantern Raw. I have been using it for almost 3 years now and it is still the best camera I have ever used. Since I bought it, I have measured every new camera against it and I have yet to see an image that I prefer.
Now everyone is entitled to their opinions but I am going to go against the grain here and say that the NX1 and the GH4 were ahead of their time but shouldn't have been released until 2016/2017. And before I get a ton of dislikes, hear me out... I still feel that 4K was pushed onto the consumer a couple years earlier than necessary. The camera manufacturers hadn't even perfected a 1080p image before moving onto 4K. With a multitude of Oscar nominated films and Sundance films still being shot on 2K, to this day, with an Alexa or an Amira, I just feel that those cameras were pushed out too soon to help sell some TVs. Just my opinion. With that said, I've owned an NX500 and to this day I don't know if I ever used a camera that felt better in my hand.
Now if I'm speaking objectively, I'd have to say that the OG BMPCC is the camera of the decade and more specifically the fire sale during the summer of 2014 was probably the best moment of the decade. That camera was nicknamed the Baby Alexa and ushered in a wave of cost effective cinema camera features from most manufacturers.
In 2019, I really like what Panasonic has done with the S1H. And for the price, the Sigma FP is almost a no brainer purchase for me next year. 
I'm looking forward to seeing what BM releases during this NAB and I hope the rumors for the Canon 1DXiii are accurate.
I still foresee myself primarily using my 5D3 for the next couple years but I may rent a couple higher end cinema cameras next year. One thing I've realized this year is that I don't need to own every great lens or new camera that comes out on the market, but for a small fee, I can use almost every camera on the market if a project calls for it.

In light of the recent arguments on EOSHD I thought it'd be cool to think about how awesome it is to be a filmmaker/videographer in 2019 going into 2020.
We don't have to settle for crappy 8 bit anymore on anything less than $5000, we even have multiple cameras that shoot compressed raw and/or ProRes for less than $2.5K! We have lenses from 3rd party makers that not only don't suck but are better in some cases. Wireless monitoring and follow focuses are affordable now!? What!?  Our options for post are incredible, too - We have Final Cut and Resolve that are rock solid and Adobe... Adobe sometimes doesn't crash now! ? Frame.io and Vimeo review help make working remotely way less frustrating We get to bash Canon while shooting on Fuji/Sony/Nikon/Blackmagic instead of bashing them because we have no other choice And on top of that all we have places like here where we get to talk about it all and get help and share our sometimes very strong opinions ?
I hope you guys see my sarcasm where I sprinkled it in. I encourage you to go ahead and post what you're grateful for:

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff."

For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure).

Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709.
P4Ka PDF
Emotive Color

It worked! Camera looks brand new infact. I forgot how nice Panasonic ergonomics are. 

Happy Valley - two-season box set (small town realistic police procedural investigation). Such good writing by Sally Wainwright; she seems to understand that not only does something need to be interesting, but the main characters need to be likeable too. Many times I find this is not achieved in TV drama - there's action, production values, hip cinematography, smart one-liners, but it goes for nothing because you just don't care about the people enough. It's almost as if aliens had written them and in a subtle way, got the wrong idea about us. The main characters in Happy Valley are ordinary, realistic, but we want to be with them because we care. So when we see a big close up of Sarah Lancashire with a bloodshot eye, it means something. This is old school drama at its best, with excellent actors to bring it out. Strongly recommended.

This track is a recent addition to my playlist at the moment:
 

Happy Valley - two-season box set (small town realistic police procedural investigation). Such good writing by Sally Wainwright; she seems to understand that not only does something need to be interesting, but the main characters need to be likeable too. Many times I find this is not achieved in TV drama - there's action, production values, hip cinematography, smart one-liners, but it goes for nothing because you just don't care about the people enough. It's almost as if aliens had written them and in a subtle way, got the wrong idea about us. The main characters in Happy Valley are ordinary, realistic, but we want to be with them because we care. So when we see a big close up of Sarah Lancashire with a bloodshot eye, it means something. This is old school drama at its best, with excellent actors to bring it out. Strongly recommended.

Interesting experiment @TrueIndigo.  It reminds me of the YT guy who uses a custom rig, moving the camera in relation to the lens, shooting a static scene several times and then combining them to get high-resolution or large sensor output files.
I'm also reminded of the people that experimented with taking a flatbed scanner and putting some kind of lens on them so that when the scanner did a 'pass' it was actually taking a photo from the left to the right of a scene.  It generated absolutely enormous resolution files, but of course it was a horizontal rolling-shutter and took a few seconds to make the pass, so if anything moved you were stuffed!
I shoot 4K and will crop into it for 1:2.35 and my problem is that I forget that the resolution is so high and so I tend to try and get too close to things in framing.  I need to train myself to have faith that things will be visible and I can go wider!

One thing I experimented with was "Two panel Cinerama". Historically, the real Cinerama process in the 1950s used three separate cameras, locked together, and the resulting three projected images were brought together on a single ultra wide screen. The two overlapping edges were blurred by using moving combs to help fuse the presentation together.
I did not hope to replicate all that stuff! As a simplification I used two camera positions, and in fact I just used one camera which filmed the two panels one after the other (two cameras would have been used for a "live" shoot). I had my camera display set for a "thirds" grid, and filmed the left side, then to shoot the right side I panned the camera on the tripod over by two thirds. This meant the image overlap would be one third in the middle.
In post, I would first create a custom wide canvas (the exact dimensions were arrived at after some tests) and import the left and right clips. You can temporarily lower the opacity of the top layer a bit to help the line-up of both panels by moving one of the clips into position. A simple feathered mask (which you can animate over time) is used on the top layer within the third overlap area, to make a sympathetic and less obtrusive join line according to the subject.
Yep, I realise all this sounds nuts (lots of restrictions compared to normal shooting), and I didn't do much with it, but it was fun. I messed around with this several years ago during the FHD era, but when I got an UHD camera, that canvas size seemed big enough to me to make 2-panel Cinerama a bit obsolete (you can mask it down to simulate an ultra wide look without much loss). One thing that it doesn't replicate of course is the wider field of view (just as using an anamorphic lens has a laterally wider field of view compared to just masking a 16:9 frame). It was quite interesting to shoot on a crop camera with say a 35mm lens but get a wide field of view by the two-thirds "extra" you get when you pan over to film the second panel.