Grimor

What capture mode was it in when you sent the command?
On one single occasion I got it into that condition and it did a runaway recording that wrote no file data after I had to stop of with a battery pull.
I've found you can switch it to mov and it will record corrupted files.
All other attempts switch it to 4k24p and the files are recorded with that metadata. Though as I reported earlier with ISO50000 it doesn't register the right value in the metadata
 
I think there might be something in it reacting differently to the recording format command depending on what format it is currently in.
I'd tried both doing it from 1080 and 4k but there might be a combination of the variants that allows it. I can't do much on it right now but it needs a matrix of the settngs with different buttons to quickly but exhaustively test the combinations. 
A
EDIT!!!
FFS I've just spotted you are trying this on a G80 and NOT a GX80
No wonder I didn't get the same behaviour!
OK, same thing applies with the matrix to test the permutations
Closest relative I've got of it is the G7
I'll check it when I have some time 

Thank you for the 2012 camera manual link.
As you can see in the manual, cine-d is the most linear of the gamma types.  
A problem in this thread is Mercer using "highlight clipping" interchangeably with "highlight rolloff." Which is unfortunate.
All this is clarified below.
Summarised here for your reading pleasure. This is from a 2016 white paper discussing exposure. 
Panasonic White Paper on Exposure Levels
Most video camera gamma curves are designed to replicate what-you-see-is-what-you-get when the footage is displayed on a video monitor. That’s convenient, but there are sacrifices made in the amount of dynamic range that can be preserved when using a conventional video gamma. Furthermore, video gammas are more linear in design [than vlog], and that means that more “bits” are allocated to storing the brightest stops, than are allocated to store the darkest stops. This can result in mushy shadows, and noise and banding in the shadows if you try to brighten them in post.
Exposure is normally 70 IRE for skin tones, and 100 IRE for highlights.
When shooting in REC 709 gamma, I’m used to setting my zebras at 70 and 100; I would expose for there to be just a little bit of 70-IRE zebras on the brightest highlights on Caucasian skin tones; then I would swap over to Zebra 2 (set to 100 IRE) to check for highlight clipping.
Exposure for VlogL is 55 IRE for Caucasian skin tones, and 80 IRE for highlights.
An individual channel might clip earlier than the zebras indicate so in some situations one might set the vlog-L highlight clipping to a little lower (75 IRE) to minimize possible individual chroma channel clipping.
Exposure is a game between three things:
·        Noise in the shadows – all digital sensors show the most noise in the darkest areas. Under exposing and lifting in post will maximise noise. Raising ISO will also increase noise levels.
·        Retaining the highlights – decide between main subject vs highlights. Deciding which highlights might have to be sacrificed for exposing the main subject is difficult. In an ideal world no highlights will need to go past 100 – welcome to studio set lighting.
·        Maintaining consistent midtones between shots
For a good read on basic ETTR principles and the balance http://www.leeminglutone.com/#howtoettr 
Hope you find this helpful. 

The Enable element is purely to tell the smartphone app from the camera which options to show the user so, yes, in virtually all cases it means the camera will only action return commands that match its enabled list. Its use for this purpose is to be able to collect the (usually) type and value parameters for the setsetting function.
As I said earlier in the thread, you should see that that particular command you sent did actually have an effect of sorts in that it will have put the camera into 4k24p mode as unless it is a rate based on a different region (i.e. you'd sent mp4ed_30p_200mbps) then it will accept them but revert to its uppermost setting.
Vlog is unlikely but, again, if you got hold of a rev 2.2 or 2.3 GH4 and found that particular Android version of the ImageApp that enabled Vlog to be activated for 'free' then you could packet capture a session between the two to see exactly what the command was. I don't know anyone with that rev of GH4 but if you do then the version of the ImageApp you'd need is floating around on some dropbox links if you google hard enough for it. But my suspicion is that because the GX80 etc post date Panasonic closing that loophole in both the camera and the ImageApp then it wouldn't work anyway. The long shot would be it possibly working on an LX100 but considering what that does when it receives the Cinelike D command its far from certain it would work properly.

The phrase "whatever works for you", especially in the repeated usage, really comes across as condescending towards the mod. With it removed your post is much more readable! I do appreciate that you've added a video in support of your workflow. I suggest your discussion of ire clipping levels move to another thread, new if you like, as this is distracting from the good work of BTM_Pix. 

Using the ruse of wanting to "compare its wifi control to my FZ1000"  , I spent a few minutes packet capturing an FZ2000 app session in a camera store earlier to get some examples of it sending the 100 and 200mbps 1080p setting to the camera.
The commands were formed exactly as I was expecting them to be so confirms my findings that although the camera will accept them it won't properly action them but it will change to 4K24p instead. This is a different behaviour to when you send an outright "illegal" setting (i.e. a PAL rate when its in NTSC region and vice versa) where it returns an error. Whether it simply reverts to its uppermost setting when given a request that it doesn't reject but can't find an actual match for I don't know but the end result is the same in that it doesn't get us anywhere.
With regard to the LX100, the Cinelike D and V are acting almost completely the reverse to how you would expect them to in that it massively saturates the colour! However, it also completely and I mean completely canes the black level. I've got a hunch that with the LX100 being such a close relative of the GH4 that there might be something involving an interaction with the master pedestal level and/or the luma level which are changeable on the GH4 but not on the LX100. If someone who has an LX100 could try this and see what you think. It might be correctable with changing a combination of the saturation/contrast/shadow/highlight controls to bring it into line and if it is then it shouldn't be an issue for the Deploy function to combine the string of changes into one click.
I stress might though !
And I can't look at anything to do with this for the next four or five days at least now while I'm away doing the day job assignment so don't hold your breath.

I think I mentioned earlier in the thread but those are messages from the camera to the app to tell it what items to give the user access to.
Its one piece of the puzzle in that you can still construct set commands based on them (or estimates of what they will be) but the camera will not necessarily action them and you will generally get an "err_parameter" message in your browser.
An example of this would be to send :
http://192.168.54.1/cam.cgi?mode=setsetting&type=videoquality&value=mp4ed_c24p_100mbps_c4K
Sending this will be actioned by Panasonic cameras that have the functionality enabled but won't be by those that won't.
In this respect, it is pure good fortune that although Cinelike D and V are not enabled in the app the camera will actually activate them if we send it the commands.
There are other examples such as the ISO50000 mode and 23 point AF mode that aren't listed but I was able to get working.
You will also see this selective rejection when you have the camera in PAL mode, you can send it NTSC based formats such as 1080p60 but it will reject them.
If you then boot the camera using the multi button diagnostic mode into NTSC region you will be able to send them and it will action them.
We can only presume that Panasonic had it in mind to have Cinelike D and V in the GX80 and left it in there.
Something unusual happens when you tell it to go into one of the high bitrate 1080p modes in that it switches to 4K24p so its not entirely rejecting it but its also not doing it either.
Again, I'll say that the LX100 is doing something odd with the Cinelike commands so there might be something worth tinkering with there.
For now, I'm only concentrating on looking at command stuff for my hardware box (which is all I was originally intending to be tinkering with this stuff for anyway before I uncovered the Cinlike thing!) so hopefully now so many of you are using this you might all find some new stuff with your own experiments.

I know, thanks again

It seems like it has every command for every camera. I saw the 200mbps mov options in there. I assume there is some piece of code which communicates which camera the app is communicating with? I wonder if there is a way to trick it if the code could be singled out? I assume a GH4 would be needed to figure out that one line of code... plus a whole lot of time. Pretty cool stuff. Good job @BTM_Pix !!!

So, as some of you may know, I've been "experimenting" with having little chats with different Panasonic cameras over WiFi and after whispering in the GX80s ear last night, I may have come up with something quite interesting.
The first image is a grab from a GX80 using its Standard profile.
The second image is a grab from a GX80 that is definitely not using the Standard profile.......

Yes, you just have to modify the html file so that when you hit 'Deploy' it takes you to B&H Website where you can then buy a GH5
 

OK
So for anyone wanting to try this, I have made a really simple method to do it.
I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk.
All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D !
So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. 
Again, though, proceed at your own risk.
Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this!
Bear in mind that my unit is a GX80 and the firmware is version 1.0
If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on.
 
Here we go then….
Follow these instructions exactly and you should have Cinelike D on your GX80/85
You will need a laptop or a phone with a browser, the camera and to download the simple html file attached.
 
1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera
2) Load the Deploy Cinelike D.html file into your browser
3) Select ‘Handshake’ 
4) You should see the browser page change and it confirm that its connected to a GX80
5) Hit the back key on the browser
6) Select ‘Connect’
7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message
8) Wait until the camera screen shows you a live view
9) Hit the back key on the browser
10) Select ‘Deploy’
11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 
12) Cinelike D is now active on the camera
13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 
14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them.
15) Repeat 9-14 to switch between them to your hearts content!
 
So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them.
However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it.
When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings.
Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings.
Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections!
 
In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime.
DEPLOY CINELIKE D.html

It's because Lexar and Panasonic don't play nice.  It works great in my other cameras and I'm getting 90mbs read on my 4(?) year old computer... Faster than my older Samsung pros which actually work better in the camera than the Lexars.

I bet you could use a wider taking lens and no WA converter and it would almost be the same but better quality image.

@NewFilmMaker show us some footages instead of "rate my setup"

I'm tempted to register there just to reply to him that the only way we'll definitively know if Canon are ripping us off is if we have to pay by Western Union and Canon tell us their mother is posting the 5DMKIVs back.

Haha the little psicopath.

Filled the survey.
Now i want my 50% discount of this new lens!

Customizable IBIS modes.
(One mode without Roll axis for anamorphic lenses)
 
 

The "ES Files" helped me a lot when I had toothache last summer.
Thanks to Nikkor, Ed David, EosHd Comunity and my dentist.

http://www.slrmagic.co.uk/slr-magic-anamorphot-cine-35mm-t24-2x-anamorphic-lens-mft.html
Is this an option?

Some time ago, I bought one of these huge wide angle adapters (Mine is a Century Optics C5365 Wide Angle Adapter).
I tried to use it for wider anamorphic shots, but failed. As @Ian Edward Weir explained to me on my initial post on Facebook's anamorphic shooters group, you have to focus everything down to 0.5m in order for this to work, but no anamorphic adapters can focus this close of course :p
So here is my second attempt. And I find it quite successfull if I might say
Here is the setup :
- Pana AF100
- Minolta 50/1.4 (@ f/4)
- Isco Ultrastar
- +1 Close-up diopter
- SLR Magic Rangefinder
- Century Optics Wide Angle adapter

With the Rangefinder focused at the minimum (3'6 ft) I have infinity focus ! (YAY)
Pic 1 : With +1 diopter, Rangefinder, Wide Angle adapter (Both taking lens and anamorphic adapter focused to 1.5m)

Pic 2 : nothing in front of the ultrastar (focused at infinity) graded to match the previous image

Pic 3 : Same image uncorrected

It seems there is a lot of light loss with all the optical elements added :P
A bit of sharpness loss too, but that's to be expected knowing how NOT sharp the rangefinder is :s
I'll make a next attempt with my 50D to see if I can really get wide shots !
Let me know if you guys had any other attempts at this kind of frankensteineering  

The GH5 isn't made by Sony.  Sure the camera gets warm after an hour or more, but I have yet to see any warning of shutdown.  Doesn't matter if it's 6K or 4K, this camera is just built solid.  I just shot a live event that was almost 2 hours and it was just fine.  Even the battery lasts over 2 hours.  Can't say that about Sony.
As for 6K Photo Mode - it is exactly like 4K Photo Mode on the GH4.  It not only records video but sound also.  And it has the same aspect ratios - 4:3, 3:2 and 1:1.  The short video below is a 6K clip with audio:
The bummer part is that it is a "photo" mode - so it is accessed in the photo mode dials (MASP), not the movie dial.  This means that it is considered a "photo", and as such the old picture styles are the only ones available.  No VLOG, no Rec709L.  CineV and CineD however are still available.  Also, the metering is way off, like 1-2 stops.  The easy way is to go to movie mode, set the exposure, then go the photo mode, and record. 
The roadmap for 6K Anamorphic is clear because it's very similar to the GH4.  In the beginning, the GH4 only had 4K photo mode.  It was only a year later that they decided to make a dedicated Anamorphic movie mode.  I look forward to 6K Anamorphic later this summer!

to render it out in Premiere in 5K  you need to switch H264 to H265

IBIS is doing weird backgroung movements everytime.
Please Panasonic make a IBIS mode without "Roll axis" for anamorphic, and probably the same for Yaw/Pitch axis.