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I agree (as someone who has done all my editing for years on either gaming or workstation-class laptops). Generally, decent laptops in both of those categories should have cooling good enough for long-term high CPU and GPU loads, but you do need to choose carefully - and expect them to be noisy when they are working hard! Also be careful when comparing desktop and laptop GPUs - they can have the same or very similar model numbers, but the laptop version might have different performance specs (and more aggressive thermal management) e.g. : (info from Wikipedia) The desktop version of the nVidia Quadro RTX 4000 (100-125 watts Thermal Design Power): ...versus the mobile version (60-80 watts TDP):

I think it's likely to be a real camera and lens (for the reasons you mention), but no idea which lens. TV news gathering was in a slow transition phase from 16mm film to ENG back then, so there would have been plenty of working 16mm film equipment around, used both for news and other TV production outside the studio environment.

I very much agree with that - the opposite of someone filling an answer with the latest buzzwords, fashion statements and acronyms to gloss over the fact that they don't really understand the subject. I've been interested in science and engineering from quite young (the first book I ever bought was about electricity and magnetism). Favourite subject at secondary school was physics, helped a lot by an enthusiastic teacher who really understood the subject and could explain the fundamentals behind it very well. When I went on to study physics and electronics at university, in marked contrast some of the lecturers were terrible at explaining things in a simple fashion. One lecturer in particular kept pushing his own textbook, which was just as impenetrable as his lectures, so some of us students just gave up and found a book that explained the basics of the subject much better, just to get us through the exam at the end of the year... (and it was a subject that in my subsequent electronic design engineering career I've become much more familiar with - so now I know it's mostly much less complicated than it seemed at the time). "Simplicity is the essence of good design" I've found to be very true. If things start getting too complicated and messy in a project, it's usually a sign that I didn't set off in the right direction at the 'blank sheet of paper' stage.

If it was a real working 16mm film camera, I don't think it would be an ENG (Electronic News Gathering) lens, as they are designed for professional portable video cameras (which in the late 1970s would have been triple vacuum tube image sensor cameras using a dichroic colour splitting prism, thus having a long flange-to-sensor optical path). But of course in the movie it's basically a prop, so doesn't have to be a working camera.

...and is that a Nagra IV open-reel tape recorder the sound op is using?

I did a similar 1080p to 4k comparison with 10-bit 50p HEVC files from my OM-1 very recently (as a check after I'd updated the FW to the latest 1.6 version). 1080p is nominally 40Mbps and 4k is 150Mbps. With the 1080p upscaled to 4k (using the FFMPEG zscale 'spline36' filter), at normal viewing distance on a 55" native 4k OLED TV I could tell them apart (as I know what to look for) but it's not easy. A normal viewer wouldn't notice. I've done the same comparisons in the past with files from my G9 with the same result. As a consequence of this, most often I record in 1080p 10-bit and save 75% of the storage space, unless there is a reason to want maximum resolution/quality e.g. it's an 'unrepeatable' major trip or event, to allow for re-framing or extraction of 4k stills. For the last one (which is handy for wildlife), I often record at 4k 24/25/30p 10-bit as that is sharper on the OM-1 than 4k 50/60p, but use 1/100 shutter speed to reduce motion blur while being reasonably usable as video footage as well.

AFAIK, the GPU in the 'Ice Lake' CPUs has hardware decoding for up to 10-bit 4:2:0 HEVC i.e. 'Main 10' profile, assuming you have a Retina MacBook Air - https://en.wikipedia.org/wiki/MacBook_Air_(Intel-based)#Retina_(2018–2020) Any higher HEVC profile e.g. 10-bit 4:2:2 has to use software decoding on those machines. Not surprised. I often upload stuff to YouTube as 4k 50p using HEVC at 15-30 Mbps (using 'constant quality factor' encoding). I used to use higher bitrates, but decided it wasn't worth the extra storage space/upload time. HEVC is generally a very efficient (quality versus bitrate) compression codec.

Definitely - it's why I like the way Olympus/OMDS IBIS operates on the OM-1 & E-M1 iii. When I use proDAD Mercalli for stabilisation in post I usually choose the 'Glide Cam' option, which gives a floatier feel with lower warping artefacts (and less cropping) than the default 'Universal Cam' setting.

Thanks for the info. Robert May also commented in his video that it didn't seem to improve long telephoto stabilisation. Not that surprised as OIS in the lens can be as or more effective than IBIS and/or EIS at long focal lengths, at least for pitch and yaw. Now that the enhanced EIS is out in the wild, doubtless Panasonic will be getting lots of feedback, so there may be performance improvements to it in the future. For the vlogging situation, it sounds like it needs to be made a bit more 'floaty'.

I agree (having owned 10 of their hybrid cameras and 2 camcorders in the last 15 years). Panasonic has a long heritage in professional video (going back over 60 years) and it shows. I think the GH5 became a very popular camera for video because it was a good all-round, reliable, video tool in most situations, rather than excelling in any particular area at the expense of others or having a specific SOOC 'look'. For a bit of fun, this is 9 year old, basically SOOC, FHD 50p video from a Panasonic LX7 'enthusiast compact' with a small 10MP 1/1.7" sensor. There's some obvious aliasing/jaggies and I think the reds/oranges in particular are exaggerated. But for a camera launched in 2012 that fitted in the palm of one hand and weighed 270g I think it is reasonably decent (and could be improved in post). SOOC video from a G6, GX85 or G80 would leave it in the dust though, having much less aliasing and better balanced colours.

For my own stuff, I prefer it to be as 'faithful as possible' to the original scene, within the limits of the tools I've got and the amount of time I'm prepared to spend fiddling with it. I don't care what someone else wants to categorise that as, but I suspect it would come under your 'video' category. Personally the parts of the production process I find most interesting are being out-and-about recording the content, the basic editing (the clip choice, 'flow' and the cutting) and getting the best out of the ambient sound. Adjusting the image doesn't usually get much more advanced for me than brightness, contrast, saturation and sharpness, unless there's a clip that's particularly 'off' what I think it should look like in the lighting conditions at the time. But I'm perfectly happy respecting and enjoying other peoples artistic choices, including abstract art (which is inherently non-realistic). But nobody likes every piece of art they view...

I don't own the camera, but looking at the updated manual the 'H' proxy file HEVC bitrate looks quite reasonable at 16Mbps for 60p/50p and 12Mbps for 30p and below - roughly equivalent to the 8-bit FHD AVC mp4 bitrates of 28 and 20Mbps. It would be interesting to know how the quality of the 'H' proxies - when recording 'main' 4k - compares to 'main' FHD recordings at equivalent bitrates e.g. is it doing high quality down-sampling from the 4k stream for the proxies? Another short YT review of the latest firmware (from someone who is primarily a wildlife photographer using a Z9, but also uses an S5iix primarily for video):

...and another one (I quite like his style, plus he's a Panasonic micro43 and Sony user as well):

According to the EXIF data on Flickr, the still was taken with a Canon EOS 1100D (Rebel T3 in the US). I think it is a little over-saturated (the reds in particular), but is otherwise a reasonably colour accurate photo of 'Mayflower' in that time period. Here is another photo of it taken with a Canon EOS 40D by a different photographer - https://www.flickr.com/photos/125085162@N06/21175458306/ There are a few colour stills on Flickr taken by Paul Cook at the same event with the 5D Mark III, which I think look nicer than the video (generally more vibrant, and with nicer skin tones) - https://www.flickr.com/photos/paulwilliamcook/albums/72157648396375737/ But other than me not liking the colour grade (which is an artistic choice anyway) I agree the video looks good.

I really dislike the colour grade in that video - low-contrast and de-saturated with (to me) a grey-green cast. It sucks all the life out of the event it's recording... How do you judge the colour capability of the camera itself from that? (I know the heritage railway and the location it was filmed at quite well). Not my photo and a different location, but this is what the 'Mayflower' locomotive looked like in reality): ( From emdjt42 on Flickr )