deezid

The way the contrast detect based AF on the GH5 works is by cranking the sensor to frame rates of 240fps, maybe even higher, and very CPU intensive analysing of bokeh and depth of field (DFD mode).
So you can't expect AF to be as fast at 24p in video mode as it is in stills mode.
What Panasonic need to do is get Dual Pixel AF technology on the sensor.
It is the only reliable way of doing good AF for filmmakers. The phase-detect A6500 route is a dead-end, it's just not bomb proof enough. It hardly ever tracks reliably, especially in low light.
Meanwhile good old manual focus has resulted in many classic films, so I suggest we stop being so lazy and use that instead

Yh even the ARRI Alexa and Red Helium get serviced by an iPhone. Why would anyone buy a RED Helium or ARRI Alexa then??

Yh even the ARRI Alexa and Red Helium get serviced by an iPhone. Why would anyone buy a RED Helium or ARRI Alexa then??

It has amazing dynamic range even in Rec.709.
It has remarkably low rolling shutter compared to Sony.
The 10bit files are amazing in low light with lots of 'depth' and richness to the shadows. It helps that it's so good in low light anyway with very clean ISO 3200.
Tons of features, I will write a guide about it but it will take a while.
Review coming soon, I know it's been ages but I will get round to it!

The Canon colors are great out of camera, but the pseudo flat profiles can disappointing in post. For this reason I often opt to capture as near as possible to final grade baked in. The GH5 is far more flexible in post. Codec size is a challenge in some regards, but if you work with proxy files in PP or FCPX it is not that bad. Lowlight is far better on the 1DXMK2. Organic and forgiving upto 12800 in a pinch. Contrast this to the 1600 iso useable range on the GH5. Detail is better on the GH5, but that is not to say that the 1DXMk2 has bad IQ... It has great IQ, but as a filmmaker's tool, it falls short for lacking many features that are expected in such an application. All the GH5 lacks is DPAF and lowlight. 

@meanwhile We had this discussion a while ago. The placement of the sensor in the mount is very similar to that of the Sony E series. And if Sony can do it with a FF sensor, Fuji can do it too. It's not going to be as effective as the m43 one, but it's something at least.
BTW @deezid, photozone just published their review of the 23mm f2 and pretty much came to the same conclusion as I did (and ive had two different copies of the lens). Good build quality, AF and image quality, but the out of focus rendering is very busy - my main gripe with the lens.   http://www.photozone.de/fuji_x/1013-fuji23f2?start=1

The GH5 would be, since it's oversampling from 5k, but the processing limits its performance.
The best you can probably get is the FS5 with external RAW, it's flawless.

* Bitrate of at least 240 Mbps (at 23.98/24 fps) recording
So after the '400Mbps' firmware update, 4K 10-bit log GH5 should be good to go!

Love it so far. Maybe just make the right side a bit dark, then it would be perfect.

I don't see anything which can't be done with a GH5 or even 4 (external V-Log) in these clips tbh.
Crushed blacks are almost standard in every movie since the beginning of cinema and honestly - I like it.
The Highlightrolloff in the third clip isn't that great, her skins turns yellow in some scenes with direct sunlight.

Before it took like 10-20 seconds for the roll axis to stabilize after panning right, now it is more like 1-2 seconds.

Well... physics and schtuff. You want one thing? Ya can't have the other. Such is life.
Alternatively people pick up a Panasonic 12-35mm f/2.8. Of course it's a trade-off. You win some... you lose some. The Sigma just combines stellar quality with crazy sensitivity in its zoomrange... but to allow it to perform like that, it has to be big 'n heavy and unfortunately that means the smaller you want to go, the more you'll have to sacrifice. What I imagine they could do is reduce the range... like a MFT 12-24mm f/2 with both fair quality and decent dimensions/weight should be possible? But then you sorta get to a range that's not flexible enough for most people... and you might just go and use primes faster than f/2.8 already...

Just shot an ad for a bank using the GH5 and SLR 2x anamorphic 50mm prime. This is pretty much my go-to combo right now outside of the Ursa + Sigma Cines.
 

Pictures look impressive.
Seems like no strong sharpening and nr are used. Tons of detail.

If it's too noisy (I think it looks really organic) you can still apply NR.

@jonpais
I'm currently changing my workflow to ACES in davinci resolve.
One of the benefits is a finer black level separation. So I can still crush blacks without satisfying too many details and strange gamma changes. I love it!
 

I don't see anything which can't be done with a GH5 or even 4 (external V-Log) in these clips tbh.
Crushed blacks are almost standard in every movie since the beginning of cinema and honestly - I like it.
The Highlightrolloff in the third clip isn't that great, her skins turns yellow in some scenes with direct sunlight.

I'm on my phone so apologies for this abbreviated set of answers:
Highlight clipping - protect highlights when exposing and it's not an issue. GH5 has slightly more dynamic range than 5D3
IBIS on manual lenses works very well
If you want softer footage blur it 
VLOG is a must - more DR and control in post
5D is more malleable. There may be cases where you can't get the same look with GH5. 
 
 

That gpu is 2006 stuff. I think you will do better with the Intel HD of your processor than with that (it has one, right?). Graphic cards evolved a lot, and since Sandy Bridge the Intel HD performance surpassed older entry level cards and mid range stuff the older Intels couldn't even touch. Perhaps, i still can't say for sure if it's enough. I've already used premiere with an HD3000 and t3i 1080p. Can't say it was nice, but still works, and back them i was with an i3 and 4gb of ram, but with no color grading plugins. Your whole system is better than mine was. Way better. So it probably should be fine. But if you want to play with color, i suggest transcoding the h.264 files to some edit friendly codec and depending on which plugin you want to use, i still can't say for sure if it will be good.

What this demonstrates, imo, is that BlackMagic do their homework. They rewrite and optimize their software. Whereas Adobe doesn't. Shouldn't it be the easiest thing on earth to optimize Premiere for Macs? Known parts, drivers, OS. But still it ridiculously fails, by far outperformed by a free software. 

If you get a GH5 I'd highly recommend getting a Tiffen Digital Diffusion 2 filter if you want a slightly softer look. It doesn't haze out the highlights or anything like that, but ever so-slightly softens the edges while keeping resolution.

Here is a quick test on the GH5. VLogL C4K 10 bit. Sigma 18-35 Cine (@28mm). You'll see a nice quality with human faces, but all I had right now were flowers.
 
 

Choose the GH5. Buy V-Log as well.
Turn down sharpening and NR to -5.
Add some blur to the footage.

It will still show way more detail than the Micro and almost no artifacts (even in 1080p).

Choose the GH5. Buy V-Log as well.
Turn down sharpening and NR to -5.
Add some blur to the footage.

It will still show way more detail than the Micro and almost no artifacts (even in 1080p).

Don't start dragging this one off topic as well.
My opinion of the 80D is irrelevant beyond the fact it shoots really quite terrible 1080.
The ergonomics are good and Dual Pixel AF is great, which makes it all the more a shame that the stuff I am talking about in the article applies to this camera 100%.