deezid

Yeah, you get into Diffraction pretty big time, especially using MFT.

This is the colour difference between GH5 VLog and GH6 VLog:

GH5


GH6
In general most of the colour palette is warmer and skintones, as everyone already knows, are no longer to magenta. Blues are also more accurate, being slightly darker and more purple than they are on the GH5. Greens are more yellow.

I nearly had a heart attack when I saw the box 😬

Ah, that's more like it! 😄

Yeah sensors have their own look in the RAW data.
The filter stack has an effect.
The CFA and pixel design makes a difference to colour as do better know traits like signal to noise ratio and dynamic range.
I shot Digital Bolex and 5D Mark III at same time once, same uncompressed RAW output in 1080p at same frame rate.
They looked totally different in terms of colour!
And you do have to process RAW eventually, and not all cameras will handle similarly in post.
5D Mark III 3.5K RAW is a real step up from the 1080p and I encourage everyone to give it a go. It's amazing.

Which means they're guarding the act of compression itself. Frame rates and level of compression are also stupid. Its like to patent a CPU with 8 cores to prevent anyone else making any CPU with more than 7 cores. Nobody should be allowed to patent the scale of something. 

Let's shoot some quick a dirty dynamic range tests
Here's mine, on the balcony
First is Sigma Fp-L in 8bit Cinema DNG RAW

Second is OM System OM-1 in 10bit LOG 4K:

A clear win for the Sigma Fp-L
You will need a bigger effort to get the best out of the OM-LOG
The Fp-L RAW seems to have that creamy RED EPIC / ALEXA look to me straight out of the can
And it doesn't sacrifice a boat load of colour to achieve such a wide DR.
This was in full frame mode to SD card.
I am sure the external 10bit and 12bit is even better in the highlights.

Compared to X-T4 although it is certainly the better camera, it's also much more expensive. When it comes out, inevitably in short stock at £2500 or so in the UK, you will be able to pick up a mint X-T4 on eBay for about £1000.
Main differences are 4K/120p (cropped), anamorphic modes and the ProRes. For me ProRes LT should be in there as it stands up really well. ProRes 422 and HQ have enormous file sizes so are less practical. LT is just as fluid to edit and grade.  If I want 700Mbit/s file sizes I'd probably just shoot BRAW instead. On the other hand, if main selling point is the 4k/120p and one has £2500 to spend then for not a huge amount more you could get a full frame 4K/120 camera or even an EPIC-X (5K 120fps). If you need an anamorphic mode, 4K/120p (given the 4K/120p is similar crop on both) and ProRes all in same camera then GH6 is cheaper at £1999 and has the lovely HDR sensor readout too.
The 6K open gate and anamorphic mode is probably what I am interested in most, really glad Fuji put that in.
But iffy AF, sticky IBIS and still no real progress with things that matter (exposure, NDs, larger screens) mean there are compelling alternatives.
OM-1 I am really impressed with. The image is SUPERB. The IBIS is really natural. AF is Sony/Canon level bullet proof. It is currently one of the best all-round shooting experiences for the money!

Real, natural grain, which trumps digital sharpening any day of the week, usually is only captured in a legit uncompressed raw codec like CDNG (probably not the “fake BRAW). It is just stupid pleasing when you are in a well lit scenario with low ISO, and the RAW codec captures all the fine, discrete noise in the image.
You won’t see that in a PeterMcKinnon video lol. Glad ARRI is embracing this. 

ALEXA 35 has the following grain types:
K445 Default
P425 Cosmetic
P325 Soft Cosmetic
G733 Nostalgic
G522 Soft Nostalgic
F567 Clarity
F578 High Clarity
L345 Shadow
H457 Deep Shadow
Default is "Go-to for most situations. Smooth skin tones, excellent clarity and detail."
And the others are either a softer texture or more grain, more vintage look.
Well done ARRI for recognising the importance of real film grain in a digital camera!
Faking it in post isn't the same.
It also works hand in hand with sharpening.
For example High Clarity offers "Greater sharpness and detail compared to the Default. Good for landscapes, trees, product shots. Even more detail than Clarity."
This is really nice as in mirrorless cameras you get a ton of over sharpening artefacts if you want finer noise. The only way to do it is to ramp up the digital sharpness and ISOs, which isn't a nice combo!
You can tell why ARRI are still favoured by filmmakers who are actually artists rather than marketing men.

It really does just look like every other camera out there.
The content is all dross.
Not a cinematic or emotional moment in any of it. Though of course that isn't the camera's fault is it?
It is brash eye candy only fit for tv ads.
I would expect the X-H2S's image to be very good but so is the EOS R5C, A7 IV, GH6, OM1, Fp, Fp-L, 1D C, NX1, XT-4, A7S III and so on.
If it makes full use of the film simulations with ability to simulate grain styles like the Alexa 35 and has 14 stops dynamic range in 6K then I'll change my mind.
Then it is progress!
Otherwise it is merely another good offer in a sea of good offers, if you get what I mean.

Yeah the Ursa takes two 11bit signals while ALEV is taking two 14 bit signals. The URSA doesn't have the highlight retention of an Alexa and the shadows suffer from fixed noise pattern (noticeable when shooting 1600 in dim conditions). This was apparently less of a problem on the G2 though. Still pretty respectable dynamic range.

No, that's Dual Native ISO, not Dual Gain like the GH6 is.
Dual Native ISO is when the camera has two native ISO values that it can choose from and picks the best one to use at any given time.
Dual Gain (in the sense of the ALEV, Canon DGO, and GH6) is when the sensor has two outputs that each have a different gain and those two outputs are used simultaneously and combined with each other to create a higher DR image, in-camera, in realtime.
This is the info from ARRI - https://www.arri.com/en/learn-help/technology/alev-sensors
It's something people get confused between, because it's so rare and.... innovative.

Didn't try it out yet, but sharpening is gone entirely in the 4K modes on the GH6, which now look identical to the 5.7/5.8K recordings. So 1080p may be even better, less processed looking now.

4K and especially 1080p on the GH5 had way too much sharpening applied for my taste. Glad the overprocessing is a thing of the past. 🙂

It was V-Log. This person did another film with the GH6 which looks just as bad, oversharpened with a horrible highlight roll-off, colors etc. Don't know where to start even, but perfect to promote other manufacturer's cameras instead.

But "cinematic" since the title says so I guess...

Not the camera's fault either, I have a GH6 myself and it has a fantastic video image with a super smooth roll-off with DR Boost On and no sharpening and almost no NR in ProRes. 

It was V-Log. This person did another film with the GH6 which looks just as bad, oversharpened with a horrible highlight roll-off, colors etc. Don't know where to start even, but perfect to promote other manufacturer's cameras instead.

But "cinematic" since the title says so I guess...

Not the camera's fault either, I have a GH6 myself and it has a fantastic video image with a super smooth roll-off with DR Boost On and no sharpening and almost no NR in ProRes. 

It was V-Log. This person did another film with the GH6 which looks just as bad, oversharpened with a horrible highlight roll-off, colors etc. Don't know where to start even, but perfect to promote other manufacturer's cameras instead.

But "cinematic" since the title says so I guess...

Not the camera's fault either, I have a GH6 myself and it has a fantastic video image with a super smooth roll-off with DR Boost On and no sharpening and almost no NR in ProRes. 

It was V-Log. This person did another film with the GH6 which looks just as bad, oversharpened with a horrible highlight roll-off, colors etc. Don't know where to start even, but perfect to promote other manufacturer's cameras instead.

But "cinematic" since the title says so I guess...

Not the camera's fault either, I have a GH6 myself and it has a fantastic video image with a super smooth roll-off with DR Boost On and no sharpening and almost no NR in ProRes. 

It was V-Log. This person did another film with the GH6 which looks just as bad, oversharpened with a horrible highlight roll-off, colors etc. Don't know where to start even, but perfect to promote other manufacturer's cameras instead.

But "cinematic" since the title says so I guess...

Not the camera's fault either, I have a GH6 myself and it has a fantastic video image with a super smooth roll-off with DR Boost On and no sharpening and almost no NR in ProRes. 

Have you tried the GHa luts for the S1? I can tell you that they work great and elevate the colour completely. The S1 files have enough data and latitude that you can match to the Alexa pretty well. 
Here's another lut pack that does the same thing - 
 
 

Speaking of the VariCam, I’m honestly shocked that Panasonic haven’t announced a full frame/Large Format version of the camera yet.

I feel that the Panasonic Varicam LT is one of the most underrated cinema cameras of the recent era. 

Just the timing and market was bad for it. 

Varicam S35 before it wasn't too successful (too expensive, and too heavy? And late-ish to market), thus even though the Varicam LT was 98% of the Varicam S35 but at a cheaper price and a lower size (addressing the two biggest issues of the Varicam S35), there wasn't the strong success of the Varicam S35 to build upon. 

Plus by the time Varicam LT arrived, it was already too late, ARRI had their claws solidly into the higher end market, and the Varicam LT was still too expensive when the likes of the Sony FS7 / Canon C300mk2 did the job well enough for the low/mid budget and were massively cheaper. The Varicam LT just couldn't find a large enough niche to be a huge hit with.

Maybe not most underrated but the Panasonic S1 is definately underrated outside of this forum. It's giving an FX9 quality image for peanuts. I would say it could compete with the C500 MK2 and C300 MK3 as well. The C500 can see into the shadows better by 2 stops or so, but it doesn't have dual native ISO. The Panasonic S1 can do 4000 iso with 4 stops of headroom in the highlights and a couple in the shadows. That punches the C500 dynamic range in the gut at the same ISO. 

Yeah, I was able to make it relatively easier on myself to switch from M43 to L-mount in part because the only native M43 lens I have is the kit lens that came with my G85. The lens kit I built for myself was comprised entirely of vintage SLR lenses from the M42 and Minolta MD mounts and were easily adaptable to the L-mount. I'm currently unable to autofocus with the S1 because of that, for obvious reasons, but then I rarely ever used autofocus with the G85 anyway.
It really is crazy just how much new life Panasonic breathed into the S1 with Firmware 2.0. I've no doubt that we'll see plenty of more advanced models with even better specs come out in the relatively near future, but practically speaking I could absolutely get away with using the S1 as my main camera without upgrading for a good 3-5 years or so. Perhaps even longer once I pick up a Blackmagic Video Assist 12G recorder to utilize the camera's RAW output capabilities.

The S5 (S1H/S5 also) outperform it in usable latitude. Sure IMATEST loves heavily denoised footage like from the A7sIII or C70, but the IQ is quite bad on these cameras in comparison. The Pocket 6K (Pro), S5/S1H/S1 and Komodo are the best cameras in that regard under $10,000. 

Here's a nice exposure comparison chart from Slashcam:

I didn't know the C70 used a lot of noise reduction. The FX6 seems more organic.