Grimor

Yes!
(only requirements £800 and waiting a few weeks / months) :-p

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film.
I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good.
Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).
 

Heads up to users of the 72mm version of the SLR Magic Rangefinder (the discontinued one without distance markings)...
The rear 72mm attachment ring on mine had some rotational play. I decided to see if I could remove it. I succeeded, turned out the connector was a step ring glued on! Underneath a 77mm thread, just like the one with distance markings. See pictures.
Trying to remove the step ring (at your own risk ;-)) might be worth it as it brings the RF closer to the attached anamorphic glass, benefiting vignetting.
Conclusion: both versions of the Rangefinder are mechanically the same. The budget version just misses distance markings and got a step ring tacked on (!).

I have two jobs, one which is not great but pays well. The other one being making videos. 
So basically, I have one job making money, and the other one spending it ! (But I always keep my expenses low by using older gear and going thrifting every week-end :D)

The last feature I was on that shot 35mm had a very low shooting ratio, got a killer deal from Kodak, and used horrible low quality scans. I think the added cost of shooting film (despite a virtually free camera) was nearly $200k. This was the ABSOLUTE cheapest deal around at the time, and prices have gone up. I just can't figure out how you're shooting that cheaply. They also shot with a digital b cam for a pretty substantial part of the shoot.
I find lab fees and scans significantly more expensive than film stock if you want high quality 2k scans. What labs are you using that will develop and 2k scan 400 feet of 16mm for $200? I've yet to find any but every time I budgeted it out shooting on 16mm adds at least a few thousand dollars to the budget for a 10-minute short, and maybe much more. I agree having a digital b cam is smart. That said, for a short film, a few thousand dollars is not much, but difficult to stomach when it's all out of pocket and with no hope of a financial return.

Yes, there's much more of it in the shadows
I'm awaiting the session capture from an old firmware GH4 to finally extinguish everyone's hopes of it being doable.

Sounds like you are describing 'Gate Weave'.
That is when a film frame passes through a projector, sprockets outside the image area control the vertical motion of the frames through the projector. Over time, a film can become warped or the sprockets can wear, causing the frame to appear to move side to side. It can also be caused by a worn mechanical movement in the camera not keeping perfect registration with the sprockets on the negative or by the film itself being warped by heat.
A good plugin for exactly this (and other old film effects) for Premiere/AE is Red Giant's Misfire:
http://www.redgiant.com/user-guide/universe/misfire/
or you could try and see if you can customise the parameters in this free camera shake plugin:
http://premierepro.net/editing/deadpool-handheld-camera-presets/
 
Gate Weave is primarily a horizontal motion (like a soft sway left and right) that can have different speeds. You could possibly keyframe your clips to have this motion with a Bézier curve to mimic the effect with the inbuilt motion control tab within Premiere. 
The most 'scientifically accurate' way to achieve the effect would be to shoot on film with a worn movement in a camera that does not have double-claw pull down...or you could purposely introduce movement during the telecine scan.

Like a lot the Anamorphots and whole video.
Congratulations.
Not sure about IBIS. My opinion is to dissable always with anamorphic.
And singer voice is really funny.

Here is a music video that I shot last month using the GH5 with 35mm and 50mm SLR Magic anamorphic primes. VLog L. 4K 8 bit. IBIS was a nice feature to go w/ the lenses whenever I needed handheld. I'm praying for in-camera anamorphic desqueeze from Panasonic this year!
 

I won't know for sure until I've seen the files but for what its worth this is my current stretch rating for this
Still better chance than the bit rate stuff though

It will just be settings rather than a hack (unless you have the GX80 where it will use the current one to get Cinelike on to it)
Needs a lot more testing yet (some of which will have to be automated so there's more code to be written today to do that) so its a bit away from being revealed just yet.
 

Someone has the "curmenu" reply of the GH5?

The cheapest you can go with good quality is with buying either :
- an Isco Ultra-Star (the golden or red version) you should be able to find some around $200 (got mine for a lot less)
- a Sankor 16D (or similar : Singer 16-D, Elmoscope I)
You'll get a dual focus system with great optical performance (Isco is super sharp but doesn't flare, 16D is not that sharp at wide apertures, but it does flare)
Either way, you should pay more than 200€ for that anamorphic adapter.
You'll then need to find an adapter to be able to use it. Go grab a Redstan clamp, Rapido Clamp (or a vid-atlantic clamp if you're really down on money) usually between $50 and $100
So, No, you don't need to spend thousands to get decent quality. You just need to spend wisely. (Of course there are better anamorphic lenses out there, but as you are just dipping toes, there's no rush !)
Be careful, by tipping a toe, you are entering the madness of anamorphics. Once you bought one adapter, there is now coming back. This is a point of no return !!! :D

So I've been playing with my new prodding device and....
Its interesting.
What I did was record a clip of a colour chart from lets call it a well known brand of camera that is named after a primary colour and then put the same lens that was on that camera on to a GX85 and shot it again.
Both clips were recorded onto a Ninja Inferno.
What I was doing though was monitoring the recorded clip of the posh camera on the Ninja Inferno with the scope overlay on and then switching to the input to look at the GX85 and using the prodder to manipulate the parameters live and try and replicate the signature of the recording of the posh camera. I then tweaked a few things in FCPX to match a  bit closer with the purpose of then taking those changes back to put them in the profile of the GX85 to match it better straight out of the camera.
One of these images is the film log setting from the posh camera and the other one is the GX85.
There are definitely challenges regarding noise with doing this on the cheaper camera so its obvious which is which but I've got some ideas about that.
Tweaking the values and getting instant feedback was very productive and I think this may be the start of an interesting journey.

Cheers. 
If you see someone wandering around Saturn or MediMarkt next week with wires coming out of his sleeve seemingly idly demoing Panasonic and Sony cameras make sure you come and say hi

Looks like arduino 16x2 screen

Yes
And yes again.
Its for live interactive control of the profile, sharpness, noise reduction, saturation, hue and ISO to create new custom profiles.
Amazingly enough, it actually work as well!
Even more surprising is that it allows this while you are recording.

Knobs!!!!

Haha.
Where am I going with it?
I think you and I are in accord over how much received wisdom there is with much of this stuff. And truth be told I'm as guilty as anyone else for perpetuating much of it!
When you consider the image controls available in a G7 etc you have the following :
 
8 Base colour profiles
4 Individual modifying parameters to those 8 (Saturation, Sharpness, Contrast, Noise Reduction) each of which have 11 possible settings (+5 to -5 and 0)
2 Global parameters (Highlight and Shadow) both of which have 11 possible settings (+5 to -5 and 0)
 
That means that there are over 1.7 million different combinations.
And thats without the additional Hue control that some Lumix cameras have.
Oh and thats 1.7 million different combinations per profile.
Can anyone honestly say they've tested all 14 million combinations to determine their definitive setup for these cameras?
Obviously no one has, even though I know sometimes it feels like we have
And on the basis that all of these parameters do actually make a difference, there could be some really interesting combinations of them that no one tries because the received wisdom (and lets be honest with 14 million combinations its no bad thing to use that) tells us that we should use a smallish core base and then tweak from there.
Do we actually know, for example, if you have the noise reduction at +5 and the shadows at -5 and the highlights at +4 on a Natural profile with the saturation at 3 and the contrast at 2 and sharpness at -3 that these cameras don't suddenly look like you've got Kodachrome 64 in them? No, because we'd guess that those settings would make it look like it horrendous and not go near them. Does anyone even really know what happens if you have the noise reduction at +5? Does anyone even really know if it actually works at all as I can't imagine most people have ever tried it at that setting.
And the reason we don't know, in my opinion, is that not only are there so many combinations but that its just too fiddly to be diving in and out of menus to change them and have the immediate feedback of what the interaction of those parameters actually looks like.
So, where I'm going is to make that a lot easier and hopefully people can come across some happy accidents and make profiles that they don't have to spend hours tweaking later.....

It seems like the sweet spot is a third under to a third over, depending on the circumstances. If you're filming in the shadows shoot a third over. If you're shooting in bright light then a third under. In mixed light and shadows, dead center is probably the way to go with cameras that have 10 or less stops of DR. 
I appreciate what the Leeming LUT is attempting, but you can only push and pull these cameras so much and a half to a stop more latitude isn't turning it into an Alexa. But for what it is, you guys are getting great images and that is all anybody can ask. 

"The only thing you have to turn on is the "High Quality Playback" setting. Once that is on you can select different playback resolutions like 1/8 and it will reduce the quality and it won't zoom in."
Found this in a Facebook group but haven't tried it yet.

And in today's episode of "Fun With Lumix And Gaffer Tape" we have the new LCD display module which gives you a pro SLR style top panel info for your little GX80/G7 et al.
Well, pro style if Nikon and Canon used more gaffer tape in their production process that is.
 

I'm about to start a new thread with a practical application of all of this poking around that some of you may be interested in.......

So......
A bit of an update
I've spent the past few days redoing this from the ground up and there's been what you might call 'a bit' of progress.
The camera functions are now controlled by a gamepad, which gives a bit more scope in terms of buttons etc.
By separating out the part that does the actual talking to the camera, this means that that can be smaller for mounting and the choice of the input device is now far more flexible as it can support pretty much any USB device that can be attached to it.
In this version, the gamepad itself is wireless too so not only is it a lot neater but it can also be used to extend the overall distance of wireless control (its range to the control box is added to the range from the control box to the camera).
I can also make it support multiple devices so you could have something smaller just to do basic control (or a USB numeric keypad would be quite good for that actually) and then use a more elaborate one when needed. Or do both simultaneously if you want control of exposure and someone else to do focus etc.
Speaking of focus, this is now controlled by an analog stick so has a bit more feel to it (ignore the transitions in the video, the debug mode makes the control much coarser) with a press in the centre of the stick activating a one shot AF.  
If your camera has a powered zoom lens (hello LX100 etc) then this is controlled from the same stick by pushing forward and back. 
I believe that this will also work with those MFT lenses that support power zoom but I don't have one so I can't confirm that.
I've made a drivable AF joystick point mode which you activate by pressing in on the right hand analog stick and then using the D Pad to drive the focus point around the screen and then pressing in the stick again to action it.
There will be more focus enhancements coming.........
The shutter speed and aperture are now controlled by the shoulder buttons on the gamepad and the ISO is now also directly switchable on two buttons.
I've got a few more enhancements coming over the next few days as well so I'll keep you informed.
In the meantime, here is a video of it controlling a GX80
 

COOOOOOLLLLLLL!!!
Whats the main board? Raspberri? Arduino?
Congrats, your gadget  is super!

Thanks, I only had a G7 to hand at the time and just dug my GX80 out and it takes the ISO commands but doesn't action them in video mode.
ISO50000 in stills is a go though!
The Cinelike D Hue controls are definitely working on my GX80 though and I think I've seen a GX85 user confirm them on his somewhere else in the thread.