bunk

One Point Color under Creative Control mode see pag 84 of the user manual.
https://eww.pavc.panasonic.co.jp/dscoi/DMC-GX80/EG_EC_EF_EB/guideENG.pdf
GH4 has it as well, never used it so can't tell how well it works.

Thanks.
I’m using DaVinci Resolve on my desktop and AE 5.5 on my laptop. ‘Binoculars’ was graded in Resolve and ‘ungraded C-log’ in AE, but the setup I use is the same and could be used in any NLE.
In AE I use Adjustment layers, as if I had the nodes you can find in Resolve.

First three nodes are my basic setup, second set of nodes I use to color grade. The middle node of the first set is always the curve of the profile the footage was shot in. The two other nodes are used to balance low middle high. From Left-to-Right: 02, 01 C-log2_180, 03

ACABADABRA… the middle node could probably just as well be a simple S-curve or something, but for some reason when I use the 180 degrees rotated curve of the profile the footage was shot with, the first and third node curve “keep close” to their initial shape. Come to think of it, al those  curves have more or less the same shape  (C-log2 and CineD are almost identical (if you fit them in a square)) so no wonder it fits my workflow
First node (04) second set is usually just the red and blue curve adjusted to my likings in the lower left corner in this case I manipulated middle and top as well.

Second node (05) is a correction on the previous node. Dragging those curves can make you do over the top things. My favorite tool for this is the RGB mixer or Channel mixer (in AE). I start with the Blue-Blue channel. Just touching it makes you aware if there is any need to shift in the blues. I then do the same with the Red-Red, if it looks weird you know you don’t have to use that channel. I hardly ever touch Green-Green, but I realize now that I hardly ever touch the green curve in the previous node , there might be some correlation. When the “masters” are done I continue with the minions, Blue-Red Blue-Green etc.
By this time I’m completely colorblind and tend to look at some other picture on my HD to compare with what I have done so far. In this case I added a third node to add some contrast, I then called it a day. However you can go crazy and keep adding nodes as there is no end to color grading.

Here you go...

There is some macro blocking in the sky

I'm afraid there is no such thing. The sky is more or less completely blown. What I did is color the highlights, you can see it in his hair as well.
 
btw In the upper left corner in the sky there is a weird stripe, shows in the occ as well ...any idea what it is. Insect flying by?

I'm not Kidz 'r Evil, but gave it a try anyway... Feels like solid footage.

How about "Bunk 'iz Evil" 

I made a grade for the 5550 version In DaVinci and next applied the same grade to the 5555 version.
All I did to make up for the difference was adding an extra node to the left of the grade with saturation set to 75.

Everything looks slightly more blue to me, as in hardly noticeable.

The 5550 version without saturation adjustment.

The 5550 version with saturation adjustment (from 50 to 35)
 

My go at it, but only after I read "I'm trying to push some cold-blue colors (to the shadows) at the girls footage, and some warm colours to the band."
Top two have the same grade, lower one slightly different.

My go at it, but only after I read "I'm trying to push some cold-blue colors (to the shadows) at the girls footage, and some warm colours to the band."
Top two have the same grade, lower one slightly different.

I made a grade for the 5550 version In DaVinci and next applied the same grade to the 5555 version.
All I did to make up for the difference was adding an extra node to the left of the grade with saturation set to 75.

Everything looks slightly more blue to me, as in hardly noticeable.

The 5550 version without saturation adjustment.

The 5550 version with saturation adjustment (from 50 to 35)
 

I made a grade for the 5550 version In DaVinci and next applied the same grade to the 5555 version.
All I did to make up for the difference was adding an extra node to the left of the grade with saturation set to 75.

Everything looks slightly more blue to me, as in hardly noticeable.

The 5550 version without saturation adjustment.

The 5550 version with saturation adjustment (from 50 to 35)
 

thats great i love your illustration
ive done that without the belt lol, maybe ill give it a try~!

The key difference between this and a monopod is that the monopod is fixed to the ground at point of contact. That's where it gets its stability, which is fine for photography, and for static shots in video, e.g., photo/video journalism.
But for motivated camera movement? Then yes, you would need something like this, or an easy rig, steadicam. The latter especially for heavier loads or long takes. 
It's a clever setup for light loads or short takes, as is the monopod on belt variations, brings back memories of stick-on-my-dick jokes that stopped being funny when you were sporting bruises in your groin.
 
But I love the DIY approaches. Who cares what you look like, or how goofy it is. Christopher Doyle was running around shooting with a pillow taped to his chest to stabilize his camera.
Jennifer Connolley was strapped with a heavy, ridiculous-looking, crazy-ass rig for her selfie take in Requiem For a Dream. And she had to perform like that. That's the talent looking ridiculous for the film, not the crew that nobody gives a shit about. 
Get the shot. 

I read the post by JonPais in the Fuji thread where he hopes to get rid of micro jitters with the help of a gimbal. Like him I tried all kinds of solutions and some worked better then others but I never got rid of what seems to be my biggest handicap; a too flexible spine. So the other day I thought why not use a belt to connect a small tripod to my hips and circumvent the spine all together. Sounded cool and it kind of worked, but if you want to use the EVF as well it is not optimal.
At some moment I used the belt around my shoulder and it dawned on me I just made a swing, meaning any abrupt move would be absorbed or slowed down …and the seat of a swing always stays horizontal.

It's my favorite way of stabilizing now. All jerks, jitters are gone. It's not that you don't move anymore but it's more like you film slowmo. And there are no extra costs. I'm pretty sure everyone already has some kind of lightweight tripod, I use the Sirui T-0005KX. If you want more weight or stability,  mount a video head on top of a ball head.
Both shots were taken with 1/30 of a second with a 200mm lens on a GH4 with a Speedbooster (0.72). It illustrates the use of the tripod shoulder mount trick vs handheld.

I read the post by JonPais in the Fuji thread where he hopes to get rid of micro jitters with the help of a gimbal. Like him I tried all kinds of solutions and some worked better then others but I never got rid of what seems to be my biggest handicap; a too flexible spine. So the other day I thought why not use a belt to connect a small tripod to my hips and circumvent the spine all together. Sounded cool and it kind of worked, but if you want to use the EVF as well it is not optimal.
At some moment I used the belt around my shoulder and it dawned on me I just made a swing, meaning any abrupt move would be absorbed or slowed down …and the seat of a swing always stays horizontal.

It's my favorite way of stabilizing now. All jerks, jitters are gone. It's not that you don't move anymore but it's more like you film slowmo. And there are no extra costs. I'm pretty sure everyone already has some kind of lightweight tripod, I use the Sirui T-0005KX. If you want more weight or stability,  mount a video head on top of a ball head.
Both shots were taken with 1/30 of a second with a 200mm lens on a GH4 with a Speedbooster (0.72). It illustrates the use of the tripod shoulder mount trick vs handheld.

I read the post by JonPais in the Fuji thread where he hopes to get rid of micro jitters with the help of a gimbal. Like him I tried all kinds of solutions and some worked better then others but I never got rid of what seems to be my biggest handicap; a too flexible spine. So the other day I thought why not use a belt to connect a small tripod to my hips and circumvent the spine all together. Sounded cool and it kind of worked, but if you want to use the EVF as well it is not optimal.
At some moment I used the belt around my shoulder and it dawned on me I just made a swing, meaning any abrupt move would be absorbed or slowed down …and the seat of a swing always stays horizontal.

It's my favorite way of stabilizing now. All jerks, jitters are gone. It's not that you don't move anymore but it's more like you film slowmo. And there are no extra costs. I'm pretty sure everyone already has some kind of lightweight tripod, I use the Sirui T-0005KX. If you want more weight or stability,  mount a video head on top of a ball head.
Both shots were taken with 1/30 of a second with a 200mm lens on a GH4 with a Speedbooster (0.72). It illustrates the use of the tripod shoulder mount trick vs handheld.

I read the post by JonPais in the Fuji thread where he hopes to get rid of micro jitters with the help of a gimbal. Like him I tried all kinds of solutions and some worked better then others but I never got rid of what seems to be my biggest handicap; a too flexible spine. So the other day I thought why not use a belt to connect a small tripod to my hips and circumvent the spine all together. Sounded cool and it kind of worked, but if you want to use the EVF as well it is not optimal.
At some moment I used the belt around my shoulder and it dawned on me I just made a swing, meaning any abrupt move would be absorbed or slowed down …and the seat of a swing always stays horizontal.

It's my favorite way of stabilizing now. All jerks, jitters are gone. It's not that you don't move anymore but it's more like you film slowmo. And there are no extra costs. I'm pretty sure everyone already has some kind of lightweight tripod, I use the Sirui T-0005KX. If you want more weight or stability,  mount a video head on top of a ball head.
Both shots were taken with 1/30 of a second with a 200mm lens on a GH4 with a Speedbooster (0.72). It illustrates the use of the tripod shoulder mount trick vs handheld.

I made a grade for the 5550 version In DaVinci and next applied the same grade to the 5555 version.
All I did to make up for the difference was adding an extra node to the left of the grade with saturation set to 75.

Everything looks slightly more blue to me, as in hardly noticeable.

The 5550 version without saturation adjustment.

The 5550 version with saturation adjustment (from 50 to 35)
 

I made a grade for the 5550 version In DaVinci and next applied the same grade to the 5555 version.
All I did to make up for the difference was adding an extra node to the left of the grade with saturation set to 75.

Everything looks slightly more blue to me, as in hardly noticeable.

The 5550 version without saturation adjustment.

The 5550 version with saturation adjustment (from 50 to 35)
 

I think there lies your problem. I keep saturation to 0 or even plus 2 when shooting in the dark. It doesn't prevent the 'grain' but it keeps "grain clouds" to a minimum. Not a huge difference, but visible.
Apart from that I think your choice of lights (green red) might have amplified it and explain why it didn't happen at other occasions.
...for what it's worth.

The footage slightly clips, besides that here is my go at it.

 
@Michael if all other grades look completely weird to you, you might want to check your monitor as your grade doesn't look like the describtion you gave on both my monitors.

The footage slightly clips, besides that here is my go at it.

 
@Michael if all other grades look completely weird to you, you might want to check your monitor as your grade doesn't look like the describtion you gave on both my monitors.

I think you're victim of a typo. Try 8640x3840 instead of 8540x3840.
I tried it with a 3D render in AE and it worked fine ...even better than I expected.

That's a joy to grade. Thanks for sharing!

 

They use standard m sata solid-state-drives. Atleast my pix E5H does.