JazzBox

Natural is the best profile on the GH4, hands down I think.  Perhaps not as much grading room as V-Log or Cine-D, but the colors are usually pleasing. 
GH4 is a hell of a workhorse camera, no doubt about it. 

i don't think so. it would mean carrying two kinds of batteries and two kinds of chargers. and considering I'm usually packing everything into a Think Tank International carry-on bag, I try to keep it simple. this way I have one pool of batts to draw from for everything i shoot with -- Pocket, Micro, SmallHD 502's.

I had good luck with Patona ones. 

It definitely needs a good source of light. If you're raising the exposure to look brighter than whats actually there it can cause problems. The 4K BMD cameras are the same. FPN can show up if you're boosting the shadows. Alot of us are used to great lowlight cameras (DSLRs, mirrorless) but I feel with V Log and BMD cameras you have to change that mindset and shoot in a more film style approach.

that new grain plugin in 12.5 is pretty great. nice tight structure in the 35mm options. lots of control to dial in a look. I get masters to a lot of Hollywood releases through my bay and was always envious of the grain I'd see in them. This rivals that. Better than Film Convert's, imo.

GH4 over that one any day. Unless you need it for actual STUDIO work. But... I'm thinking not.

Yeah, GH4 + VlogL + 10bit external is great in my opinion. If you're shooting any of the other color profiles it probably doesn't make much sense to go 10 bit.

Maybe I should add to this whole subject, that I don't always need or seek the newest tech solutions.
Below is my current "focus assist". As everyone clearly can see this is as low-tech as can be. A cheap $20 loupe, a piece of cycle tire rubber and some velcro. (An old picture with my G6, but I still use it on my GH4). You just wipe the rubber around the monitor and you are ready to go . Works like a charm, diopter enlarges x3 and yes I see pixels and the cheap diopter distorts quite a bit, but I can nail focus every time and that's what matters. 
The thing is, I´m afraid that the monitors hinge will break some day.

H
Hi, - it's been a long time :-).
The short answer to your question: if you want both the easy way and the option to dig deeper get both FilmConvert and ColorFinale.
The long(er) answer: Well, well, - it all depends. As a matter of fact I also have the fairly new CoreMelt LUTx and have demoed the KojiColor. They all have their weak and strong points. If you want good looking results, quickly and  without much hassle - with LUTs - I think FilmConvert is a great solution. It has few LUTs, they are all good though, but FilmConvert can't load thirdparty LUTs. You can dig deeper in ColorFinale - due to the added curves, vectors and the layers, but ColorFinale has no LUTs preview function, - you have to add the LUT to see the result. The new $49 upgrade should include the option though. ColorFinale can load third party or your own custom LUTs
I would say ColorFinale is a much better grading tool if you want to develop your own grades than FimConvert, -  it is really good for both primary and secondary corrections. If it had masking tools it would be close to perfect. I find the color wheels are difficult to adjust though, but that might just be me.
If you want to mess around with lots of LUTs CoreMelt LUTx has great preview options and nice browser functions for organizing all the LUTs in the world. Has also pretty good color adjustment tools. KojiColor like FilmConvert has few but well executed LUTs and some nice color adjustment features. Does not load third party LUTs.
EDIT: If I should choose only one I would take ColorFinale. After spending a great deal of time lately with all the above plugins I think in the feature I´ll try and make my own style of "looks" and for that purpose ColorFinale is a better tool.

I have both the plugin and the standalone version.
The color wheels part of the plugin GUI I find much to small and very hard to adjust. Then if you want to use the wheels to adjustments for many cuts, I would use the standalone version. In my normal workflow first of all I edit my footage to get the story right, then adjust exposure/levels and colors/saturation to my liking. Then I make secondaries, - masks for separate areas and so if needed. Sometimes I make compound clips for parts of the film. As the last part I add LUTs/looks - or make my own grading - and film grain if needed. This last step I normally do on an adjustment layer and this is where Filmconvert can be used the best as a plugin imo, - and it does not involve a lot messing with the color wheels.
If you don't have too much footage- or have reviewed and sorted the footage -  and you know for the most part before editing how you want the finished filmgrade to look, you might import the footage in FC standalone, make the grade and import that into FCP.  Some people import the final edited film into FC and do the grade. I guess there is no right or wrong here, it all depends on your on preferred workflow, - and on the power of your Mac it seems :-)
For some reason I like to stay in the same application for all steps of my editing and grading.

Camera : Bmpcc  
Lens : panasonic lumix 20mm 1.7
Color grading : davinci resolve 12 
with ARRI ALEXA negative film lut to Kodak 2383 D55 film print emulation
https://www.youtube.com/watch?v=ZJHnSNOlZbs

I had a nice set of FD and I loved them, now I have a set of Contax Zeiss and I find that they are super: better construction, better feeling when you use them, better sharpness at wide open aperture (the FD 50 f/1.4 and the FD 85 f/1.8 where unusable wide open), great color rendition.

The only drawback is the number of blades for the bokeh, most CY have just 6 blades. But wide open they are very close (someone says identical) to Zeiss Primes.

This is an idea as well;
 

If I had a pound for every time I'd read "wait" and "Black Magic" together in the same thread, I could buy and Alexa 65.

Oh, wait a minute, I'm getting something through...

I see... a shape... it's in the sky... no wait... it belongs on the sky but isn't... it's a STAR...
Let me get a clearer picture... "Please insert another 50 ct"
<inserts coin> Ah yes! The star isn't in the sky... it's on a tile on the floor... I think it must be the Hollywood Walk of Fame.
Zach, as this is happening in the future, this must mean that you... you...
I see you playing tourist in LA. Get some napkins too. You're gonna spill some icecream on the Walk.
Zoltar thanks you and wishes you a prosperous future!

I see... yes... something's going to happen in the future...

Ammazza con Amazon! Buy direct, if it comes from UK you don't need to pay taxes!

Exactly!

That looks like a nice cage, I particularly like that the camera can stay on it's photgraphy QR plate inside, you can potentially pull it out and go into photography mode really easily. They deliver to italy from the website for only 10 euros, so you should be able to order it directly and get the quoted price?

I ordered the Micro with Video Assist, but I'm searching a smaller/cheaper option for quick gig, possibly a 3" LCD easy to mount without rig: any suggestion is more then welcome

If anyone is going to NAB they should stop by the BM booth and put it in their head. 

I ordered the Micro with Video Assist, but I'm searching a smaller/cheaper option for quick gig, possibly a 3" LCD easy to mount without rig: any suggestion is more then welcome

Sounds about right.

Had they managed to get the global shutter to work and also offer a compact EVF, sales would be much much stronger.
Just my guess