kidzrevil

When not challenged by very high DR, I prefer Standard. But, what do I know?

So much for 500£ per day..
everything is relative guys, you should do some fact checking about the world, not everywhere is London, nor Paris, nor LA.
Socio-economical reality is different, even between territories in same countries. I worked with a Swedish photographer a couple of weeks ago, he is 5 years in the business, while I am 19, he was earning 5-6 times what I earn per year, but then his rent was 2 times mine, his health insurance 3 times mine, he is living in a very organized and well built social state (some people call that Scandinavian Socialism), and while for me it was the coldest days since last March, he went to the pool sun bathing and swimming with other Swedes! What he earns in money, he looses in sun (just a joke, I loved the central-northern European weather when I lived, or visiting places).
In declining economies, like the ones is southern of Europe, with thousands of unemployed specialists from the golden decades of 90's and 00's, and hundreds of new kids coming into business every year, from very bad private media schools, there is so much you can ask. In my 11.000.000 country,  there is officially 29% unemployment (independent organizations say that is more than 35%), and almost 45-50% on dynamic ages, while almost 400-500.000 of highly educated people have left for other countries (brain drain), your bargaining chips are less than you think.
and do think about poorer European countries, middle eastern and African ones, most of Asia, etc. much less than 10% of the world has the ability to earn 500£ on a single day.
@Charlie you did your best, and you have the portfolio to support it. For more specialized advice, I think @kidzrevil is doing something similar, but in New York!
 

with speedbooster  XL and wide open ???

Maybe if films like BR 2049 had real suspense people would keep quiet.  That's the elephant in the room no one wants to talk about.  Yes, there are people who are simply rude in theaters (as in every other place).  I've turned around and pushed a guy in the chest to get him to shut up.  Which was stupid; three of them.  So I hate people who talk in theaters too.  However, once I get over my initial annoyance at someone talking, I often think about it and conclude I would have talked too if I had no interest in film-making itself. 
I enjoyed the cinematography of BR 2049.  Hearing the dialogue added nothing, if anything, it made matters worse.
The filmmaker has someone's undivided attention to start.  The audience has paid real money.  The saying in stand-up comedy that you must "kill" your audience is almost literal.  The audience will show no mercy and "kill" the stand-up comedian if they're not funny.   Hollywood gets lazy; good for the independents!
In short, I no longer blame the audience when many people talk.  Ironically, no one talked at my showing of BR 2049, but I respect my audience-mates less for it

Yet even though growth slowed to 1% last year, 2016 was still the all-time record for global box office - in the UK it was far and away the best ever year. I think you're correct, though, in the case of films that aren't aimed at teenagers - for more thoughtful fare the trend is definitely towards home viewing. Who knows what will happen, but it will be a sad day when movies like BR2014, Dunkirk and so on can't be shown on the big screen, where their visual beauty can be properly appreciated.

I think we often see that massively-hyped films with great opening weekends often fail to sustain their momentum as word of mouth gets around that they're not actually that great! Hopefully BR2049 will do the opposite (I haven't actually seen it yet, but I'm salivating at what I've seen so far of Deakins's photography).

Convergence culture is king. Whilst the big screen is important, accessibility is even more important. Of course you can have both the theatre release as well as the streaming release. Obviously they might be opposing forces.
I co-wrote a dissertation about horror films last spring (speaking of "It"), and while I learned alot about building suspense, I realised how cheaply they can be made and how well they can perform at the box office. The last couple of years has been great in that genre, with films making two times their budget on the opening weekends. Maybe the only genre that can to that, persistently, in this day and age.
 
 

GH5 => 16mm Patina Recipe:
Reduce DR, esp. highlights. Nothing will be very bright Down-res to 720p or so, then perhaps scale back to 2K or 4K to add noise (via Nesting, etc.) Apply really chunky monochrome-ish organic noise (FilmConvert or 16mm film scans etc.). FilmConvert LUT for appropriate Kodak etc. film stock could also help (could then skip (1) & perhaps (2) above) https://www.premiumbeat.com/blog/achieving-a-super-16mm-film-look-when-shooting-digitally/

Kidz,
You really know how to get the best out of this camera. Your pics of the city just above are really outstanding. I just wish there was some way of getting the color performance at 4K instead of having to goto 1080p to get the 10 bit 4:4:4.
 

@kidzrevil - nice! - looks similar to what I've been using. I agree, the battery grip and eye-cup do tons to make it nicer to work with. I'm curious, what that accessory that looks like a lever coming out of the hotshoe? Don't think I've seen that before.

Dude, just retire from all camera and color testing and shoot a feature film with whatever you just did there. I keep saying a modern day Mean Streets with your visuals would be awesome and this 80s film look is phenomenal!!!
PM me the special sauce though. 
What iso did you shoot that at?

Not to mention that most people are not only unwilling to learn grading, but downright offended when you suggest that maybe their grade is the problem. A problem that affects 80% of us--not being colorists--is impossible to acknowledge without pissing people off. Isn't that insane? 

Some flat/log profiles, like C-Log (faux-log designed for 8-bit), Nikon's FLAT profile (not true log), and V-LOG L (I don't really know why) respond perfectly to nothing but an S-curve in post, but they're by far the minority cases and you're still thinning out your skin tones.

People realized a while back that 10-bit ProRes (Blackmagic) and 12/14 bit RAW (Blackmagic and ML) held the key to great image quality, then 75% of us promptly forgot the second 4K hit the affordable market. The other 25% are blessed with an amazing gift: the power to remember things! 

guess I´ll have to check myself then:)
will check that out, though not so much well looking cineD footage outthere besides yours or some Italian wedding footage with the GH5 in 10bit.

I have attached a 10000mA power bank to my camera cage which charges the camera through USB. Helps with the heat issue, I never run out of battery and the added weight is good for stabilisation. I'm using the RX1RM2, but it should work for the a6500 too.

I can guarantee that most of the replies will favor the GH5, but honestly I think the right answer depends on how important cost, sensor size, low light and AF is to your work?
With a $600 price difference the extra money saved with the a6500 can be used to put toward lenses. With the larger sensor, you will have a built in Super 35mm aesthetic and all the bonuses that entails. Between the sensor size and cleaner high ISOs, the a6500 will be better in low light. With the touch screen and PDAF, the a6500 will have better AF. 
With all that being said, the GH5 will probably offer a more stable production with less chance of overheating and better rolling shutter. If 4K 60p is important to you, the GH5 will offer that. If you're interested only in 1080p, the future firmware updates will give you lots of great high bitrate, high framerate, All-I options. But if 1080p is all you need, the overheating issues of the a6500 won't be an issue... of course I haven't had an issue with overheating in 4K with my a6500, but I never shoot a clip that is longer than 2-3 minutes at a time... being a wedding videographer, YMMV.

From your sample it seems, the Panny might be second for certain light situations compared to the sony though. Lookin creamy as heck!
Lookin forward to seein more.

@kidzrevil please update with how you like it. I was quite fond of the camera when I had it. And I would have kept it if I didn’t get the overheating warning in 40-45 degree weather after shooting a half a dozen 20 second clips. It never shut down, but it scared the crap out of me. 
I loved sLog3 and sgamut3cinema (or whatever it’s called) I felt that it had the closest look to Raw from any compressed video footage I had seen or used prior to it.

@kidzrevil , hey, could it be that this has the best kidz colors ever? lookin fantastic!
But there are still two pieces of yours with equal great color, both with the G85 and one shot in portrait mode I remember.
So neutral style means cine3 profile was turned off and not in use then?
cheers
Edit: really lookin massive! what strength did your tiffens have?

Not my candidate 
But no, while the result was legal it was not democratic. Most Americans voted for the person that lost. 
I could argue that there is no single democratic country in the strict sense of the word. Or the "spirit of it" that the "elected" clown likes to use. Any country can make up laws that bypass the spirit of a democratic process. Gerrymandering is a prime example. 
 
 

Yep, I am waiting for the GX9. 

Because Panasonic does it much much less so (arguably to a reasonable extent),  while Canon doesn't. 

What you're asking is unreasonable by any yardstick. Why would Panasonic or anyone else in the Camera or any other industry give you too end features at low end ILC or mid-range Mirrorless or camera prices. It's like demanding C300ii features at 800D prices.
The only thing I think may be a possibility is that Panasonic should allow users in the GX85 range buy ($99?) Cineline D and other G85 type of features IF they can be implemented via firmware. Though Vlog would not come within that ambit, obviously. And no 180fps or even 96fps. 

The G85 is a year old now, the GX85 about 1.5yrs. I'm not sure it's fair to compare them to the 6mo-old GH5, rather than the GH4, which they outclassed in some ways. The G90 and GX90 (or whatever the next generation are called) will certainly get some trickle-down features from the GH5.
Personally, all I feel I can reasonably ask to be improved on my G85 would be higher-bitrate 1080p. 25mbps is a bit too skimpy when things start moving. Outside of that, it's been a great upgrade/sidegrade from the GH4 for me. Better color, better lowlight, and most importantly, IBIS.
I paid $550 for the camera, I don't expect it to share everything with the quadruply-expensive GH5- even if it technically could (i.e. "artificial" marketing segmentation) share some things. Panasonic has every right to do this, both legally, and I even feel, "morally"- Panasonic is by far the most responsive to our segment of the market, and even if their cameras are "artificially" limited, they're still by far the best value on the DSLR/DSLM market for shooting video. If I was going to expend energy bitching at/about a camera company, Panasonic certainly wouldn't be my first choice.
The way I see it, get busy switching, or get busy hacking, because I don't see much coming of the angst otherwise.
Will it, though, actually? The last Panasonic to be hacked was the GH2. Vitaliy hasn't had any luck with the GH3 onwards, and Magic Lantern's work is all Canon-based, I don't see them starting from square one when they have their hands full with the Canons. I think holding out hope for a hack is a complete pipe dream at this point.

That is still less than HALF the price of a GH5. 

And you got a lens for that $900 with the G85? 

Which the $2K GH5 doesn't come with. 

If it follows the trends of GH3/G6 and GH4/G7 then the G90 will probably have a few little areas where it is better than the GH5 ;-)  (but not in all ways)

I know for me at least, I preferred the G6 over the GH3, and is one reason why I purchased the G6.

So... you're upset that Panasonic's flagship is better than their lower end cameras?