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Yep, h264 is really bad
here is an image of h264 export (1st) and h265 (second)
alot of banding and color shifts and contrast problems in h264
 
vimeo tests:
h264
h265
 
i also attached best! export setting for AME 2017. Small file size and really great quality after vimeo compression
its in russian, but you can see all radio buttons



If you want more, just set 10mbps cbr

Look at how robust ARRI workflow choices are :
http://www.arri.com/camera/alexa/workflow/
As far as affordable 4k cameras under Aus $4,000 Canon and Sony are giving us the thinnest codecs they can get away with.

Historically we will plateau when IQ becomes close to the limits of our perception, HOWEVER we are nowhere near these limits yet.
Think 4k is enough because movie theatres were fine in 2K?  What about VR capture - if your field of view is 120 degrees (just to pick a nice number) then that means you need 6k to spread  2K over your entire vision, but that's not what we're talking about here - we're talking about the angle of view of a TV - which is something more like 45degrees, which means you need 8 * 2K horizontal, just to properly render sitting in a room watching a 2K TV.  What about VR simulation of a 4K TV?  Forgetaboutit!!
But why just talk about resolution - let's talk about pixel depth..  what is the DR of the human eye?  When they get "retina DR" devices, what will the bit depth of that video signal look like across that amount of dynamic range?  I'm thinking that 10-bit isn't going to cut it at that point.
And we're only talking 2D here....  what happens when we want 3D environments to be simulated from AI processed video feeds?  Just mount a grid of cameras in the ceiling perhaps 12 inches apart and feed all those to an AI that creates a 3D VR environment and UH OH!  The AI doesn't have enough information to go by and so the virtual attendees of the latest Hollywood whatever event can't see the expressions on the stars faces (or tell the difference between Elijah Wood and Daniel Radcliffe!) so we need to up the resolution.  Now deaf people can't lip read, up it again.
Now the FBI gets interested and decides that the tech is now ready for AI facial microexpression monitoring at all airports and other critical locations - more resolution needed!
To many of you this will sound like science fiction, but you will be proven wrong.  if you want evidence of this - pick up your smartphone and start talking to your virtual assistant, and then cast your mind back 35 years when many people still had Black and White Television.
This is an array of audio microphones with computer processing...  8 years ago.
https://www.wired.com/2010/10/super-microphone-picks-out-single-voice-in-a-crowded-stadium/

I've yet to see 4k that, per pixel, is as sharp as 1080p downscaled from a 4k source. But stills I've seen from TOTL dSLRs certinly show that potential... the 8K Reds might provide meaningfully more resolution, I haven't seen raw footage from one. Early Red footage was SUPER soft. Now we're seeing 4k that's meaningfully sharper to the eye than 2k/1080p...
On what display is the question. Even on IMAX, 2k Alexa looks good to me. And the C100MkII is just as sharp (worse in other respects, of course). Both are way sharper than 35mm film (as projected, but even look at blu ray stills from film and see how surprisingly soft they are).
But on a 5k iMac, I notice a bigger difference since I sit so close to it. Even there, the difference isn't huge between 4k and 5k, though. It is with UI elements, not so much with video. And the difference between 4k cameras will be even way less significant. For me, 2k is enough for video. For most, I think 4k will be.
For now...
I think the only substantive shift (beyond already significant meaningful aesthetic differences between cameras and lenses) will be when HDR takes off. And HDR imo is going to evolve in a different direction entirely, even more naturalistic, maybe HFR, etc. maybe even integrating with VR. The C300 Mk II and Alexa (and in practice the F65 and new Reds and Venice probably) all meet that standard of 15+ stops 10 bit rec2020 etc.,
But HDR is changing fast so I wouldn't even sweat it unless HDR delivery is important to you.
Of course, I don't know if by "reasonably affordable" you mean an A7S or an F55. I think there's already a rather big difference there, though the two can be seamlessly intercut if you're careful to mitigate the A7S' weaknesses.
 

What's up boys. New video live! This one I go over some of my favorite things about the GH5S as a video shooter. Big fan of this cam!!! 
 

Great work!
It reminded me the La Soufrière from Herzog. Not only because of the absence of the expected sublime event but also human nature. Wikipedia describes it nicely: 
"Driven by either madness or complete harmony with nature, the subjects of Herzog's films exemplify life at its most spiritually extreme. The people who remained on the island had accepted their fate, and had given their lives to God. "

This is the first documentary that I have done. It was shot on Sony A7sii, Panasonic GH5, Sony Rx100m4 and a Phantom 4 pro. Would love to hear your thoughts! Editing a 30 minute piece is soooo much work. I applaud people who work in this format every day! 
 

Well if you have a family it is your job to provide for them. So unfortunately you might end up with a job, your own, or working for a company you hate but. well, it is your Job. But I think, me included, in the US has Way to much stuff. Toys if you want to call it. If a person is not a materialist person you Have time for family and are probably more happy and healthy to boot. But everyone is different and that is what makes life interesting.
Out of Likes, but a great write up on your part. I guess I would have to add a sailboat to your wants in the last sentence. That would work.

8K is the future, buying a 4K domain would be like having an HD reference in your site or something like "eos" or both...

http://www.newsshooter.com/2018/02/22/panasonic-gh5s-good-bad-clean/
"The GH5S color is different to the GH5. In “Standard” photo Style the colors are so close on the chart it’s hard to tell them apart but they are different and Panasonic is clearly improving or at least tweaking the color science with this new sensor. Skin tones are very different."
There is a whole thread about the GH5s by the way. From all these cameras mentioned, this is the most interesting to me, so far.

honestly....not to my eye. they need some tweaking to match each other. 

I am a 1DC owner and have shot with the 1DX II in the past. The 1DC has mojo the 1DX II doesn't have for sure. More filmic color science. However, 1DC isnt a logical and wise choice. There are serious red pixel issues with it and its seriously a pain in the butt to use. No AF, so I always have either my Zacuto gratical or my SmallHD Focus attached to it for focus peaking and waveform. I have been using a loaner GH5S for my reviews and am seriously considering retiring the 1DC for the GH5S. My needs have changed. I used to be a freelance director/ DP and now Im a YouTuber. Having an unusable 4k until converting to ProRes is a pain. No iPhone app or any type of AF for video is a pain. And the thing is a beast to hold and carry around. I so wish Canon would do canon log on the 1DX II and give us a better codec. Thats all thats holding it back. 
The GH5S should have been called something different. Its not a GH5, its just in a GH5 body. It should have been called EVA-1 mini.  It was completely designed by the same team that designed the varicam and EVA-1. Not the photo department. The color science and features the GH5S has makes it a much more practical camera for my use.. I will use a speed booster and the same canon mounted Contax glass I am currently using on my 1DC with the exact same crop factor and cinema 4k....IN 10BIT but with focus peaking, wave forms on screen and an app that can work with shooting myself and locking focus using the app. I am really impressed with it all around and I am not a fan of IBIS. I have a MoVI M5 that produces the most cinematic motion available and IBIS makes the MoVI footage act wonky. I also love the look of a camera on a shoulder rig. IBIS makes shoulder rig stuff look too fluid and not natural. This is why Panasonic made this camera. For actual working professionals who recognize that IBIS is truly not desired all that much...IBIS is a great TOOL to have on the tool belt for sure though...
attached are some frames from a music video I shot on 1dc.

We have a very (imo) interesting result!
As you know I did this poll in two places. Here on the niche forum where most are interested in the technical aspects as well as the creative the number one spec was voted: Dynamic Range, 26%
Total votes: 23

On YouTube there can only be 5 options to a poll. But since Dynamic Range was there it shouldn't matter as a comparison to here.
But as you can see it was Buttons/handling and Build Quality that took the first place, 45%.
Total votes: 864

 
A conclusion from me: This points to why the people out there still use an Canon this or Fuji that over some new "spec" heavy release.
Ive tried saying it before and got yelled at by some. Ergonomics, layout, controls, what ever you call it is an important spec. That to many will trump even DR.

With online distribution it becomes very challenging, next to impossible to stop piracy. And if you can even track it down you then have to have the money for arbitration costs.
When you sign on to a network it becomes their IP and they have their boardroom full of lawyers to assist in protecting their IP. On the bright side, you get your check and/or royalty, not to mention any new projects that spawn from that exposure.  It seems as if losing strict control over your IP is almost the new norm. I mean even the big media networks can't stop it.
That being said, piracy is still very much illegal in most countries so technically speaking the laws still protect you. 
https://www.bradley.com/insights/publications/2012/03/international-copyright-protection-how-does-it-w__

How dare they make stuff for people with less money. Only rich people should be allowed to take pictures.

But the colors!  My god everyone!  THE COLORS!  THE COLORS!

This sounds like the beginnings of a movie script. 
 

Unless you're going into one of the less "sexy" areas, such as soundie or gaffer ;-)
 
 
Yup, video is greater complexity, and also takes sustained effort vs getting lucky (on the low end) with a few snaps that turn out "right".
So video is a little bit more immune to it than the stills world (plus it is happening later the tech development), but the general principle will still hold true. 
 

After many years of decline in in house production it is now slowly starting to shift to an increase. Most public relations and marketing job ads I see now asks for production capabilities.
I became a producer very early on since imo thats where Im allowed the most creativity. But I kept shooting and have played with YouTube to have something to fall back on, to be a better producer/buyer of services and because I "knew" this would happen.
So my tip to many is, look outside of freelance and production houses. When choosing college, consider PR/Communication. And understand that the specialist isnt necessarily in higher demand than an allrounder.

Any links to the footage you shot?
Could be interesting to analyze why your results are so bad when so many get good results.

Are you implying some people sell their "opinions"?   Have I been lied to my whole life?  Endorsements are a BS marketing ploy?  Dang.  And, yeah, Canon rolls out a bunch of gear.  A lot of it is hamstrung in video specs.  That's how they roll. 
I hope you're not legitimately worried or concerned about any of this.  It's the same story, different day.

Unfortunately YouTube is turning pretty bad. 

Google ditched their "Don't Be Evil" motto a long time ago :-(
 
 

In the article, it says that paramount did a couple of test screenings and found it to be too intellectual....
Which explains a lot.... I remember being in a second year psych. course in University back in the early 2000s.... And the professor asked a question, can't remember the actual question or what prompted him to say this.... But I remember it almost on a consistent basis.... He said, "You are technically smarter than 85% of the population." Which made me think... It is true on some respects, you need to get the top grades (85% or more) to get into University.... But, is this true in respects to everybody.... 
I'm starting to believe it is.... I've been running into a lot of them too, and Im sure some of you guys have too.... Examples: Some cashier that can't do basic math, a barrista that can't get a simple order right. Ever get a time when you specifically say... "No mayo" or something similar and you repeat it a couple of times too, and they say "yes, yes.... No mayo..." And the sandwich comes back with Mayo. Then you look at the sandwich and ask what the hell is this.... And she is looking at you weirdly... This has been happening to me on the regular. And, I generally go when it's not that busy cause you don't want to hurt their pea brains with small requests like this amongst all the other requests.
I know.... The above sounds a bit petty, especially if you've never experienced it yet. But, if you experience it on the regular... I, especially, try to avoid confrontation too... I completely try to avoid the dumb peeps... I always say, these people work here for a reason.
Going back to this movie, if it's only going to appeal to the top 15 percenters.... Then I too would choose those that know how to subscribe and use Netflix.
 
 

I find all this 8 bit vs 10 bit talk a bit silly. 10 bit gives you only an incremental increase in grad-ability -- if your workflow requires heavy grading then RAW is where you need to be. And if you're not shooting RAW and you think you need 10 bit over 8 bit, I think you need to ask yourself why. 10 bit isn't going to help if you shoot in crappy light. 10 bit isn't going to help you rescue a shot 4 stops over. 10 bit isn't going to give you the malleability to create an interesting look from a badly lit scene. I know all this because I shoot mostly uncontrolled/run-and-gun and I've owned both a GH4 with VLog and a Shogun, and a BMMCC, and I can tell you that if the scene looks crap to your eyes there's no rescuing that even if you'd shot on an Alexa. And if you're good enough to grade beautiful cinematic scenes then you've got the know-how to fake it with a decently shot 8 bit file. 

None of this is to say that you should or shouldn't get a C200, because you need to take into account the way you shoot. I chose a C100mk2 because the package has everything I need to work solo, but I wouldn't chose that camera if I had the budget for crew. I chose to buy the cheapest camera that has everything built in so when I shoot I can concentrate on telling the story.  I'd like to get a C200 when the prices come down because it would fit on a gimbal better, and the autofocus is better. I love Canon's DPAF system, it increases my hit rate and helps me shoot more efficiently. Canon Log is super easy to grade and work with as long as you protect your highlights -- half stop over and the highlights are cooked, but I've brought back shots that were 2+ stops under (because I forgot to change my ND setting, duh!) with barely an issue. 

 

Yes.  I, random stranger on the internet, affirm that you made the correct camera purchase for yourself.  Congratulations.  You are awesome.  Now go make something interesting with it.

I think people are overthinking this fun hypothetical exercise. I believe the point is... if tech stopped now and we were left with what is available now, then what would people choose based on what is on the market now.