PannySVHS

I just bought a Canon FD 35mm F2. I put it to use with the BMMCC and a 0.71x focal reducer last weekend. Focus was manually done by a 1st AC via Tilta Nano. A native electronic 12-35mm would not have cut it.
But I can see that continious AF is of course an interesting thing on newer cameras and for videography especially. @webrunner5

There is the possibility of moire. The S1H is the safe bet for any grooms suit.:) I find the monitor on the S1 a bit unpleasant to handle. It´s connection is very solid but due to that not very smooth to move. A few times I find the EVF bump to be in the way when shooting from certain angles. S1H being 350g heavier than the S1 makes it indeed a very heavy Lumix. GH6 seems like the perfect body.
Btw, GH6 in low light seemed to hold onto colours much better than GH5s and though noisier, detail was reained better as well, coming from some youtube tests. So it is a mini S1H in many regards and way beyond in others.

Good price, but will wait until it hits $699,00.

Well that might be a reason even a simple commercial on TV has a crew of 50 people involved. No one on here is going to become some master of every trade involved to make top notch videos. Sure we all need to get better, but there is a limit to talent, ergo intelligence, mine is getting worse by the day, and time involved.
  We hardly ever talk about audio on here, heck it is just as important as the video at times if not more important.

I've been persevering with analysing editing, and the more I do this the more I recommend it to anyone who wants to improve their skills.
One piece of advice I would give, which seems actually kind of painful, is to cut up the video yourself manually.
I cut up a show using the auto-magical tool and set it to be pessimistic (so it misses some cuts rather than has false-cuts on strong action) and then made a pass to manually add-in the rest of the cuts that it missed.  This manual pass made me examine, frame by frame, some of the faster more complex parts of the edit.  I'm cutting up travel shows with stylistic edits, and I have been noticing all kinds of tiny details in the editing.
Some things I've found include:
digital punch-ins for one or two frames before / after an edit to add a zoom effect or glitch effect (if the punch-ins were offset in X and Y from each other) jump-cuts to remove maybe 2-4 frames in some shots to add pace and style to b-roll shots with movement in faster montages barn door / sliding door effects on edits 'burst edits' where there is a longer shot, 1 black frame, 2 frames b-roll shot, 1 black frame, 2 frames b-roll shot, 1 black frame, longer shot whip pan transition wipe transition where a blurry object moves rapidly across the screen to obscure the first shot and reveals the second shot whip pan transition with a single frame of crazy motion-blur between the two shots - the single frame wasn't at all similar to the others so it kind of creates a flash effect fades...   the combination of fade-out / fade-in is used (noticing when it's used is interesting) but fade-out / hard cut in from black was another combination I saw, interesting aesthetic colour grading variations - sometimes the colour was one way and sometimes another - seeing this choice of different looks was very interesting This might sound super-trendy but it wasn't from a travel YT video - this was from a major TV travel show episode that won multiple awards for editing. 
There are probably other things in there I haven't noticed yet either, but there are cuts in there that I've spent whole minutes just rolling back and forth and looking at and thinking about.
Also in addition to seeing things at the micro-level with individual cuts, I'm noticing things at the structural level where the relationship of scenes within the final edit is laid-out.  if you're making up the edit then the relative structure becomes visually obvious and the act of doing this makes you think about what a scene really is.  Do the shots that get you to and from a location count in this scene?  What is a "location" - some "scenes" might move between rooms or buildings and others might just stay put.  The analysis forces you to notice these things.  Sometimes they might have one scene that moves around and another that doesn't - trying to understand why is very useful.
It is having several effects on me:
It is making me realise how shallow the level of skill is on things like wedding videos (despite them being perfect for many of these innovative techniques) as they're multi-layered and very stylised It is making me realise how little is actually required to get a nice edit - some of the videos I've really enjoyed watching have been very very simple edits just having a simple structure and just music and no other sounds It is showing me how much you can get away with - knowing what is in an edit frame-by-frame and then re-watching it and not seeing what you know is there (or removing a single frame and re-watching it and not noticing a difference) it really shows you what is perceptible and what isn't** It is adding more and more tools to my editing toolkit I'm realising the importance of sound design I'm learning so much by watching the cinematography too ** yes I have checked that my editing setup is playing all the frames (I've actually examined the latency and jitter on my setup by filming my laptop screen and external monitor with my iPhone at 240fps and verified that the image timing is identical on both screens and also that each frame is visible for a similar amount of time, ie ~10 frames at 240fps per frame of 24p).
I cannot recommend this type of analysis highly enough.  We watch so much content and yet so much of the artistry is simply not apparent until we go deep and really look, frame-by-frame, at what the masters are doing.  Pick something done by the people at the pinnacle of the craft and go deep on it and see what you find.  You won't regret it - I find it's actually more entertaining than just watching TV or a movie so it's not a chore at all, but like opening a window to new ideas you wish you knew earlier.

There is no continuous AF on old BM cameras. So using a AF lens is not a drawback. Using them just makes your life easier. Push a button instant ETTR, push a button you are in focus, what else you need. You are just making a simple camera more difficult to operate. I am not saying to never use a MF lens on one, but to totally eliminate a Panasonic or Olympus lens is interesting.
And the newer MFT cameras. well sure maybe then.

The older BM cameras don't have an optical low pass filter in them. So Moire can be a problem no doubt.

The moire was in Prores 50p when testing. The actual filmshoot was in 25p. I used a different lens and focal length, also changed the lighting to put less emphasize.
You can still screw up on BM cameras easily, even in RAW if you shoot under Tungsten light with warm effect gels or under high IR pollution if you don´t use an IR Cut filter.:)

Holy. In the subforums are gems of threads to be found. You, who posted them are awesome! Would be great, if these gems would get more recognition from us!
Also, Andrew bought some super lowfi lenses putting out an image punching way above their weight, like the Soligor 35 70 2.5-3.5. Maybe some of these topics could be part of the main forum rather than disappear in the subforums. I know, old discussion. Just sayin. Now, enjoy the images. By the way, I didnt understand any of the science of Cosimos post. Anyway.:)
 
 

@Andrew Reid wouldn't you like to pass the buck with a nice review of the GH6 and, maybe, one last artistic shot?

I wouldn't think that the 50p readout would be different to the normal readout - both RAW outputs are at full sensor resolution with no processing, so there's no downsampling or anything going on.
I prefer to shoot in Prores on this as it does a great job of removing moire etc (BM engineers are better than I am!) but it is still prone to it on sharp lenses and fine detail.
I'd suggest that the only reason to change the settings in camera are to change frame-rate, otherwise you can just set it and then simply adjust aperture / focus / ND shot-to-shot, so it's a very straight-forward experience actually.  If you're shooting Prores rather than RAW then in theory you should be adjusting WB too, but if you are shooting outside then there's a good argument to be made for just setting to 5600K and then when things are warmer/cooler in reality then they will show up like that on the files and that's appropriate because that's actually how it was.  If you're using artificial lights then just set for those and forget.
IIRC I read somewhere that the WB latitude on the Prores HQ was as good as it was in the RAW, so that's probably something else that's worth a test to confirm, but certainly my experience changing WB in-post was just lovely and I did some quite strong changes as I was shooting at and around sunset so was dealing with some quite strong WB shifts and it was all very straight-forwards and a pleasant experience.

@webrunner5 no Panny lenses for video on my mft cameras! 🙂  Would love the Voigts, Veydras or Laowas if going native of course.
@kye I did that, recorded in Prores and did the bonus take in RAW 3:1, In Prores it is a very pleasing grain structure, in RAW without noise reduction it was very hard edged. But great reference point, having both for the same shot, just like you suggested! 🙂

I found that grading the BMMCC images was completely different to anything I'd experienced before.  I suspect it's due to the fact it's RAW and so the challenge is to build a grade starting from scratch rather than having the camera do all sorts of things for you (if you want it to or not!).
This was also the case for the ML footage I took from my Canon 700D, and would be the case for the EOS-M too.
I'd suggest that you find some reference footage you like and use that as a guide for getting things in the ballpark and can adjust from there.  You could even shoot a test clip in both RAW and Prores and then use the Prores as a reference for what the camera is doing and as a starting point for your grade too, especially with NR and softness/sharpening.

Just use the Davinci Resolve's Color Space Transform for DNG Raw files. It is easy as heck to get close to where you want to be. And you shouldn't need Noise Reduction if you expose it right. I usually have to Add noise. You have to stay at base ISO.

And ETTR which is easy if you are using a Panasonic lens on a OG BMPCC, just hit the iris button.

Yes, still lovin the treasure chambers of EOSHD. Btw, my Tevidon adapter arrived, calling out for a super small anamorphic setup with an Iscomorophot 8 1.5. Cosimo would just take that Tevidon and the Isco and combine it into the smalles anamorphic lens on Eoshd, right! 🙂  @Cosimo
After 6 six monthis of ownershipe I finally put my Blackmagic Micro into action. But that is for the BMMCC thread. So no spoilers here. But that with a Tevidon + Isco 8 with a Micro digital S16 would make a worthwhile addition to the arsenal of video nerdism.:)
Yes, Eoshd is awesome. And you all are the reason why. Now, off to the BMMCC thread. 🙂

I'm done right there!
A slightly smaller/lighter series 2 would be welcome, but otherwise the above.
But that will never be...even if they do continue the line because all new cameras have to be some great leap over what came before or just get labelled mkii versions.
I was all set to make my S5 my primary video tool for this year, but have just decided to reverse that decision and put the S1H back rightly where it belongs, - as my primary.
S1H A cam because it's the best video camera I have with the best rear screen and best IBIS, plus the OLPF...and it just takes one groom all day long with a shiny suit...
S5 reverts back to B cam because despite it being the smallest and lightest of my trio, it does lag by the tiniest margin behind the S1H in the IBIS department and arguably the S1H by virtue of it's size/weight makes it a better platform anyway. Plus I really hate having to use a rear screen not in line with the lens. 
S1R principally stills but will also be used this year as a C cam, purely during the ceremony. A + B are on tripods front left and front right, the S1H just rolling rolling rolling with fixed subject (The Ceremony) and the S5 rolling for the duration and focused mainly on The Ceremony, but will also be turned for some front row(s) capture. Meanwhile, the S1R will get flipped over to video mode for a few seconds here and there as I rove, particularly from the rear whilst shooting stills.
I was going to flip to OM Systems and their new OM-1, but too soon for me.
This year is now 100% nailed down as L Mount, - zero chance of change, even if I won the lottery and something 100% perfect for me was launched.
Next year however...
1: Hoping for a next gen S2-H/R and S52-HR but not holding my breath on either.
2: Keeping an eye on Sigma, but as their FP/L has 6 'faults' in my eyes, not holding my breath there either.
3: Fuji XH2 could be a contender, but no change for change sake here unless it is 'better' than what I have already by a quantifiable margin.
4: OM-1 still in the running.
5: Nikon/Canon/Sony not in the running for me.
Nothing else even remotely meeting my needs.

These are the camera's I have owned:
- Canon 60D
Then saw footage of the GH2 and was blown away. Since the GH3 was 'around the corner', I waited for that and bought it on the day of release.
- GH3
- GH5 
- GH5-S
- S1
And later added S5 and S1H to the fleet because I need multiple bodies for wedding shooting. 
I'm happy for now. Shooting anamorphic. Great photo capabilities as wel. I don't mind the 1.5x crop in 4k 50p, I think S35 is the sweet spot for videography work. Shooting at f1.8 is still doable focus wise, but has nice separation and is better in low light than shooting at f2.8 in full frame mode. Image quality is virtually the same in full frame mode / s35 mode with much better rolling shutter in s35 mode. With the 1.33x anamorphic lenses and shooting in the 4:3 crop, I'm actually getting about 1.39x crop since the 4:3 sensor crop is a bit taller than the 16:9 s35 crop.
So that's almost APS-H territory. 10-bit colors. V-log. Good rolling shutter. Small file sizes. Great dynamic range. Good low light performance. A great viewfinder (not the s5 though). Good IBIS and even compensates for anamorphic lenses.  I'm done really. New camera's don't even interest me anymore. I got everything I want in a camera and more.
The only things that could be improved in an S2 or so are:
- Video AF, obviously, but I don't care about it since I use manual anamorphic lenses
- Better rolling shutter in full frame mode. Again, I don't care cause I barely use that mode.
- Maybe a ProRes mode of RAW mode for even better colors (won't use it for weddings though)
- OLPF should be fitted on all S-bodies cause there is a lot of moiré / alliassing going on. The S1H is clearly the best in that regard since it's the only body with one equipped.
- The 120 fps full HD modes aren't very good. Riddled with aliassing, low detail and noise. 
I now have 4 S-line bodies and I'm invested deeply in the L-mount so I won't change anytime soon. Very happy with the images coming out of them.

I suppose it's really about how close you are to the edge of what the equipment is capable of.  
I've posted about the GH5's limitations and how the GH6 is better in many ways, and probably not worse in that many, cost being a notable exception of course.  Truth is that I'd be nervous about buying any camera other than a GH6.  I've been around long enough to hear that camera manufacturers fill them with all kind of stupid stuff that can really bite you in the backside if you don't know about it.  It's normally certain combinations of things, like in certain modes certain features aren't available or don't work as well, etc.  I heard semi-recently from somewhere that in full-auto a camera doesn't smoothly adjust the exposure level, but goes up or down in steps while recording.  I was stunned to hear this and made me wonder what the hell else that camera (and others) does or doesn't do that is completely ridiculous.
Actually, the irony is that the shot in question would probably be unusable from a 5d2 or an NX (I don't know the Oly well enough to comment).  The camera was on auto-ISO and auto-SS and the Voigtlander 17.5mm was fully open at F0.95, so the SS would have been 360-degrees and there's enough noise in the shot for me to know the ISO was really being pushed.  IIRC I also lowered the exposure (using exp compensation) so that the background wasn't completely obscured, pushing the subject lower into the exposure range.  
Note that the BTS shot, which was taken with a modern iPhone, is out-of-focus.  Think about how low-light the situation must have been for a phone to not be able to focus on anything in the frame!
This is one of the shots that shows how well the GH5 operates under pressure - many of my shots are right at the limits of the IBIS, SS, lens T-stop, ISO performance, and right at the limits of my ability to grade the footage and bring out the best in it.  I know that many of my shots are right at this limit because many are actually past that limit and I can't salvage.  
That's kind of the unspoken undercurrent of this thread.  Depending on how heavily you rely on the features of the GH5, there may literally not be a better camera in existence (except the GH6).
Many brands offering better low-light, colour science, DR, etc etc, but IBIS is substantially worse on all options except Olympus who can match the IBIS, but don't offer every feature of the GH5 still, and definitely not the GH6.  
Even the FF Panasonics have their own drawbacks, the S1 and S5 are cripple-hammered because they're not the S1H, and the S1H is large and expensive and still lacks all the features
I hit the limits of the stabilisation of the GH5 quite often.  Mostly it's due to being cold or low blood sugar.  I'm shooting with manual lenses of course, so could get better stabilisation by using an OIS lens, but you'll lose a couple of stops of low-light, and guess when you often get cold - at night..  when it's dark!
In reality, there could just as easily be a thread about who hasn't upgraded from the GH5 because it is still the best compromise for all the things that you need in a camera.  The image quality is actually the worst feature of the GH5 - the best features are all the ones that add up to you being able to get the shot in the first place.  
I took the OG BMPCC out to shoot once, for a visit to a festival in a park, and that was enough to tell me it wasn't going to work for me.  The screen couldn't tilt, I couldn't see it in daylight, I could solve that with a monitor but that would double the size of the camera which defeated the point, and the poor screen meant that I couldn't focus properly, etc...  I spent so long getting each nice b-roll shot (and once graded they were genuinely lovely, the ones in focus that is) that I literally lost where my wife went and had to skip part of the place to find her again.  Most of the spontaneous moments had evaporated before I was able to get the focus and exposure dialled in.  This is all completely appropriate and not the fault of the BMPCC - it IS a cinema camera after all!  It's that life doesn't wait for the camera to be ready.
Of course, the easier your shoots are, the less these things matter to you.  If you hit record on your camera and know what's going to happen with the lighting and composition of the shot, even 20s from now, then the demands on the camera you choose are significantly less.  
Anyone who can control the action to wait for the camera has such a different experience of shooting that they practically live in a separate universe.

A bargain, Marty... I bought four of them for €100 average a piece! :- )

Nah. Not at all. But that’s not always what cinematography is about, right?
It’s also about knowing how to shoot when the light is right. Or adjusting to use the available light in a smart way. —or just Being there to take advantage in creative ways with what the situation allows. Pointing the camera in the right direction. 
 
knowing what to avoid as much as knowing what to get. 
 
I just think all those things go farther than worrying about which Canon camera you’re using or which Panasonic camera you’re using; concentrating on an extra 1 stop of DR with gear without knowing how to get the most out of the 10 you already have… etc, etc.  the same old debate we’ve all had hundreds of times.
All that said, having an awesome camera that can cover your ass and recover a bad ill-advised shot is fun too…

This video was interesting I watched today. Red Scarlet versus the Pocket 6K.  I didn't realize you could buy a Red that cheap. Damn good looking footage out of it. Kills the 6K.
 

I think this is the fate of many cameras.  
The camera market seems to be oriented around camera size being a prerequisite for image quality, despite the fact it doesn't have to be (as evidenced by BMMCC and OG BMPCC which were affordable a decade ago).  This means that there is little support in-post for the lighter cameras and less reputation.
This creates a feedback loop where people who want to shoot light don't make good-looking videos because the expectation isn't there, and people who have the expectation of great images shoot with larger cameras, reinforcing the concept that small and budget friendly isn't the way to go.  
In response to this completely made up size=quality concept, BM decided to make the BMPCC 4K literally 3x the total size of the OG BMPCC and abandoned the delightful S16 sensor for one that looks like any other camera, and almost all evidence that small could be great was swept under the rug.  
Those who shoot small typically shoot in uncontrolled conditions where the lighting is mixed colour temperature and lighting ratios are difficult to deal with, leaving those who shoot in the most difficult conditions and have the least ability in post production to shoot with the cameras least able to handle those conditions, and unaware that it could have been any different.

The biggest question of all is will the OP ever log in to respond to or thank folks for their contribution...or is this another case of, "a friend of someone I don't know was told by someone on the internet who once took some pictures at someone's wedding as a guest, reckoned that the Canon R6 was the best camera for video, so I'm getting one of those. And all the lenses".
If not, at least we had a chat about the subject eh? 😜

Played around with some BMMCC raw. Exited to compare them both. My C-mount adapter was paid four weeks ago. Now it says it is back on its way to land of origin. Anyway fiddling with raw in Resolve is so much fun.
Btw, I had found another Eos M with the 15-55, an EF adapter, three batteries for 125EU. I was gonna go for it for having the adapter. But I asked the guy if he would sell the package for 115. But he didnt answer and next day it was gone. Of course:) The go for cheap. Grab them while they´re hot. I got mine with one battery for 75EUR.