Rinad Amir

You people are crazy for recommending a G7 over a G85. Hell they are only like 50 dollars more than a G7 at times. One right here for 450 bucks, if you need a PaL one there is one on eBay for 415.00 Dollars. Crazy to buy a G7 for that much less money now.
I had a G7 myself, great camera, but if was buying again I sure as hell wouldn't buy one again with the G85 out there to be had.
https://www.ebay.com/itm/Panasonic-Lumix-DMC-G85-Mirrorless-Micro-Four-Thirds-Digital-Camera-Body-New/132894837276?hash=item1ef1264a1c%3Ag%3A9hQAAOSwIddcHBFg%3Asc%3AUSPSPriority!45056!US!-1&LH_BIN=1

The G85 is the one to get.

Most people don't want 4K60 to output to 4K60, they want it for slow motion. 

Truth. For them it's like taking candy from a baby. Why make the effort, when you can sit back and still watch the money come in. Though you'd think at some point we've hit the point of no return, when they seriously miscalculated their luck and it finally runs out and are surpassed from all sides by the competition with people now jumping over to the latest greatest shiny toy to never look back.
Though, admittedly I'm getting my first Canon in years with the PowerShot G7 X Mark III. Sure, in true Canon fashion it lacks 24p, rather than Canon's own benchmark DPAF it has quite shoddy contrast based C-AF, does have a mic-in, but nowhere to place an external mic for instance... but Sony doesn't exactly come through with their RX100-series either and the latest Panasonic LX100 iteration was a laughable update. The thing seems killer for social media content creation, maybe not the best thing for actual video production and cinematography, but then again it's a compact cam for crying out loud. Canon is pretty much the epidemy of 'point-n-shoot'. And we live in a world where videos shot on shaky potatoes go viral, so, picture quality really isn't the end all when you've got the right content. It's more about going the shortest distance from hitting the record button to the upload one (saves you time endlessly pixel peeping/grading/managing storage etc too) and that's where they're winning the crowd over. They're the no0b's choice.
But I have no interest whatsoever in their EOS-M or EOS-R line-ups. For actual video production and cinematography I'd still pick up a feature-rich Panasonic.

Haha... another hopeful...
The enthusiast crowd are very vocal, but Canon knows that its all talk and no walk...
Their bread and butter are consumers... and who do the Consumers follow??? The pros...
Even if the enthusiasts were able to sway the pros or the general publics opinion, then you get some crippled version of what what we really want.... only 4K/24p with 1.5 crop.... no 1080/24p.... no 1080/120.... so and so forth. Just look at the RP as an example... its not going to be better than that...

I used to be a champion for AF and was looking at buying an A7III because of its AF until I discovered that I actually like the aesthetic of MF.  This lead me down the path of GH5 with manual lenses and I've never looked back.
I particularly like the very human and analog feel of MF, and its imperfections (which are especially prevalent when I do it!).  I am completely in love with the aesthetic I get from the GH5 and I think the imperfect MF is a real contributor to that, as I think it suits the emotional/nostalgic feeling I want for the home videos that I make.  
The fact that I stopped being frustrated by poor AF is also a bonus, the number of times I was just standing there holding the camera watching the moment go by while silently screaming "focus you @#$@#$" probably had a measurable impact on my average blood pressure...

I'm a manual lenses guy.  I despise auto focus for my filming.  Even when it works I find it more of a curse than a blessing.  Weirdly, I like it when subjects move out of focus and someone on the other side of the lens makes an organic correction to maintain it.  And I love a slightly sloppy but creative rack focus.  It's a neat trick of the craft.
I'd rather have imperfections created by humans than perfection created by programming. 
Am I simply justifying my anachronistic (read: old fart) attitudes or do I really have a legitimate point?   Am I alone?  Is anyone else attracted to this?

Even without VLOG, I'm loving this camera and floored by the colors and dynamic range. Here are a couple screengrabs from a shoot I was on yesterday, using the HLG profile. I'm very, very excited to get my hands on the log upgrade. I think this is the first time I've ever had a video camera where I'm actually choosing the DR I want scene-to-scene at my discretion, rather than being forced to deal with limitations of the camera. There's plenty of room in the shadows and highlight roll-off is silky smooth. Color me impressed. 
 

OK, sorry, I couldn't resist anymore ...
 
300€ immediately off, 1 free battery (90€ worth), and the 200€ worth offered VLOG upgrade finished my efforts to resist...
OK, now I have to sell a lot of stuff ahah !

Have both and yep! They work great together. The S1 has an ASP-C crop mode and when the Sigma 18-35mm f1.8 or 50-100mm f1.8 are attached, the S1 automatically detects them and punches into the 1.5x crop. 
The nice thing about this setup is that the field of view is the same on 24fps and 60fps (since the 4K 60fps has the same crop). Plus the Sigma 18-35mm is still just one of the best lenses ever. And with the S1's stabilization, it's a very versatile lens. 
 
 

The directors of Game of Thrones season 8 ? ??

They just changed their testing software, hardware about a year ago. So all the "older" tests are outdated. Everything they have re tested seems to have gone down a stop or more. But the Arri seems to still be at the top of the pile, so it can't be too far off. They are calling it around 14 stops and that is what Arri claims they are.
So I think all the camera companies other than Arri have been pulling our leg on the real truth. I think BMD has been pretty honest also over the years though.

I sold my Canon mk3 with Magic lantern 14 bits raw, that was working great, to get this camera.
My main reasons to upgrade to the S1 are better lowlight, IBIS and 10 bit Vlog.
I'm hoping the vlog workflow will be easier on storage than my previous raw workflow.
I just have to remember to nail the white balance. that was never an issue with raw.
It seems like my choice is paying off. Will get firmware key next week.  Looking forward to any more footage.

I think this is genuinely a HUGE step.
Rarely, do we get such a big leap out of nowhere like this. I've never felt like any other camera was anything other than just good, or expected in 2019. This is different. It's like having a full frame Pocket 4K with nobs on... from the future.
This image sits in the cinema world, not the video one.
I've shot some S1 10bit V-LOG with it this weekend. Here's a frame:


Compared to the X-T3 10bit F-LOG, dynamic range seems wider and shadows cleaner. Image is creamier, and less noisy at high ISOs. Base ISO is 640 in V-LOG, but extended ISO can go a bit lower.
Compared to A7 III S-LOG 2/3, the codec is far more robust, less banding and compression, it looks like ProRes.
I'll upload the original MOV files soon.

The game is rapidly changing. I am kind of hesitant to buy anything right now.

 

Yeah it takes about 3x amount more mbps on All-I to get the same output from my experiences. So it really is no better. So Andrew is correct. They will be close.

Hey guys, just back from a trip -
Thanks RCV! Yes - but it'll be an approximation for ~4000k fluorescents/leds. For daylight, you'll want to use an accurate WB (from a white card), with the Daylight variation
Fantastic video; exposure and WB were on point
Yes, though Vegas is a complete black box for me. Perhaps one day I'll give it a try. The same principles and order of operations for Resolve/Premiere apply to Vegas (granted the particulars of the NLE)
With NDs, its quite important to WB accurately. They very often give a green cast (also the case with the reference Firecrests)
Working towards it; P4K is next, then S thereafter
I would like to do an S1 variation, but it'll be a while yet. In either scenario, the exposure target of 45 middle gray will remain the same. With the current variation, one would lower the highlights in the NLE in advance of the conversion (rather than expose darkly in camera)
It was learn as I went; I had no idea how to code in C++ when I started. It was a daunting task, but I did used to code in ti-basic a long time ago. The challenge was about learning the particulars of C++, getting back into that mode, getting my head around the idea of 3d color manipulations, and coding with modern full computer potential. On the calculator, efficiency was everything.

Wow amazing wonder what profile was this shot on ?
Thanks alot

How we feel about Canon sometimes:
 

Another Crapon apologist. Oh dear.
EOS R is not "low end of the market"
The manufacturing cost issue and tech capabilities excuse has been disproven many times. Magic Lantern shows what even the very old and cheap bodies are capable of... see EOS M (first model) and even the 50D from 2008 which had no video mode. Tech has always been there for much better features implementation.
Fuji X-T3 packs in plenty of nice tech for half the price of an EOS R... please do compare the video performance between those two. The manufacturing cost of an X-T3 seems to work for Fuji's bottom line. Canon manufacturing costs I have no idea and couldn't care less about. Maybe their factories have fallen behind and need upgrading and they cannot buy the latest processors from big rival Sony? Who knows. But if Fuji can make a profit on the X-T3, so can Canon on a similar spec body, I would have thought.
Yes, when you have very old management, what worked in the 1980's may no longer be relevant today. That's Canon. In many ways they are the essence of what made Japan successful in past times, in other ways they are what happens when marketing people get too powerful, then get too old, and yet still end up running the company.
All I can say is the engineers must be very bored and thinking of leaving.
Nice, hope you enjoyed the race. However, not too hard to figure out that Canon have biggest established presence in the pro sports market for stills. Nothing changed there. Not sure what that has to do with the consumer or video market though.
I do recognise the appeal for a classic style DSLR with very good live-view, good AF for stills, an easy to use video mode, nice feel, etc.
Measure it on a technical level against competition though and the video mode doesn't hold a candle.

Might be the first of it's kind in a good way.
 

Dude, chill out. What is your problem. Why does it bother you people like the GH5 and use it to create quality content for two years. Did the GH5 steal your girlfriend/boyfriend? Based on your posts you seem like an angry person.

There are other reasons why someone would want a GH5 over a P4K. 
IBIS, flippy screen, higher frame rates, longer battery life, stills, reliability, smaller and lighter... and it’s these reasons why I shoot with one as opposed to a P4k. Not everything is purely down to image quality. Versatility is important for a lot of people. 
Can’t you just accept that the GH5 is the best camera for some people, are for others it’s not? No need to waffle about it. 

The Z6 has not beaten the GH5 by any stretch of the imagination. Hell the Z6 can't even do 10 bit in camera, No F Log without a recorder, 29 minute recording time, no Waveform Monitor, on and on, no Anamorphic at all. Get real.

$2000 for a camera that shot 4K 60p, 4K 4:2:2 and had class leading stabilization in 2017 was overpriced? 
We're literally only now seeing cameras that come close to the capabilities of the GH5. The price decrease is because of how much competition has shown up in the 2 years since release.