John Matthews

I did a bunch of testing some time ago comparing them, and they were less different than I thought they would be, and the CineD and Natural seemed to have the same latitude.  I'm not sure if somewhere along the line I got confused between Natural and Standard though, so that might be something to test.
Years on, the conclusion I've come to about colour profiles is that if you're going to colour grade in post with any kind of sophistication (and now with the Film Look Creator tool and Resolve colour management we have incredibly sophisticated tools) then it probably doesn't matter which profile you use.
If I was limited to basic tools then I might just use CineD and be done with it.
It's just preference really.
The vND I'm using is the "K&F Concept 58mm True Color Variable ND2-32 (1-5 Stops) ND Lens Filter".  They offer one with a larger range, but it isn't the True Colour one so I suspect it has more colour shifts.  I've been really happy with it and my tests didn't show any colour shifts.  I asked some professional cinematographers for advice and they said this was the cheapest one they'd recommend, so I suspect this is entry level.  The NiSi ones were also recommended, but they're significantly more expensive.
As always, do your own research, but if you're curious I might have my tests somewhere.  

Hehe, I got lucky paying 250 for mine with the 12-32 and a Lumix bag. These bags are highly fashionable in certain groups of clumsy professor photographers.:) The combo usually goes for 350 with the lens. I got my first one eight years ago and paid around 430 for the body. It's still going strong, even without the backwheel which quit on me a few years ago. My favorite lens with it for photo is the 14mm pancake. I also liked using my Oly 45. But it's silver and kinda shiny for street. Planning on getting the Panny 42.5 F1.7. I also got a G3, a cute and small but solid plastic fantastic Dslm style camera. It's the dslrish sister to the GX1. The latter also going for higher prices than a few years ago. GX85 is the best of them all imo for a variety of reasons. 4K video is still great for being 8bit and Rec709. But you know that of course. @John Matthews I just had to get my second one for that nice price and I am looking forward to do a photo tour with two cameras and lenses.

Out of curiosity, how much is that combo going for where you live? I'm always looking for it, but it often seems a bit pricy for me. In France, it can be found for about 350 euros.

I bought myself a second GX85. It will hopefully arrive this week. Comes with the 12-32, which I already own and enjoyed using for some test clips with the og pocket. I think I should let go my GM5, as it was more an object of desire than being a practical artists tool for me.
What do you guys think? Prices are pretty nice and high for these at the moment. Mine is orange and in a very good shape. Much usage would rub the faux leather off I think.
I love the subtle color grade @kye Great results with your GX85 cinema beast.:) Btw I really love the colors of the GX' raw files when taking photos . This camera is perfect for street and to carry along. Anyway, how is Prores on the GH7?:) Any nasty artefacts? Awesome to hear and read about your findings with this exciting camera, Kye!

I had that camera for about 1 month and then sent it back to Amazon because the GX80 came out at the same time. Still, I recorded some great moments on it. One of the videos is so precious that I have it on my desktop at all times.

Citing a few isolated incidents does not provide evidence of city-wide riots.
Beyond that, get your head out of your idiot ass and stop getting your news from bullshit alt-right news sources.

I think you misunderstand a few isolated incidents for riots. Anyone that lives in Los Angeles will tell you things are fine, yet someone from London posts on the internet about how crazy things are there and that people are rioting. Who is right, the people there on the ground or the people who wish to use a few isolated incidents to try and taint a legitimate protest and the people who buy the narrative without any critical thinking?

You should be able to change it with the touch screen.

In general, when shooting video you don't really want SS, fstop, and ISO changing.  Best if they stay where they're at.  The ideal way to control exposure, as others have said, is to work with ND filters.
I absolutely hate the look of fast shutter speed video.  In fact, if I'm shooting, say, 30p, I'll even slow the shutter to 30 as well.  It's just a look I like.  180 rule?  No thanks, not for me.
OTOH, if that high speed shutter judder doesn't bother you, then you can always allow that to be the variable that changes your exposure.  It's the default variable for phones shooting vid so it's kind of a 'thing' now anyway.

Something that's worth noting/remembering is that the 'Flkr Decrease' setting can be used to fix the shutter speed to 1/50, 1/60, 1/100 or 1/120 (180 degree shutter for 24/25, 30, 50 or 60 fps video) when you press the video record button in stills/photo mode (which forces the camera into 'P' mode, irrespective of what the stills/photo setting is). This workaround gives you shutter priority video with auto aperture and, if you want, auto-iso - it's 'photo' P mode with fixed shutter speed, basically.
I find this really useful for 'instant hybrid' shooting - press the shutter button to take stills (in whatever mode you have set) or press the video record button to shoot shutter-priority video - no need to move the mode dial.
From the manual:

Congratulations on your purchase! 
I have the GX85, which apparently is very similar to the GX80, but you might notice small differences perhaps, so I guess maybe not everything I say below will apply to you.
I shoot run-n-gun fast-paced stuff so probably very similar to the challenges you are facing.  Here is how I setup and use my GX85.
This is the screen, showing lots of handy info.

Going from top right, here's what I do.
I use the custom modes to store different configurations.  In this case, it's in C3 and that is fully-manual.  You can't set the mode (ie, PASM) once you've created the custom mode, you need to create the custom mode with the right PASM mode.  To do this you choose the right PASM mode that you want to use using the top dial, then save that configuration to the custom mode with the "Cust Set Mem" function, and then you can change to that custom mode using the top dial and then further customise that custom mode.
I use the standard profile.  I've done lots of testing and the standard profile is the most flexible if you're going to further tweak the colours in post.  If not, feel free to choose whatever mode you like.
I use focus peaking and have set it to a custom button to switch between the high and low sensitivities.  I use this in combination with making the display black and white so the peaking is more visible.
No flash.
4k 24p.
I've setup back-button focus.  This means the camera is in MF mode, but I have configured the AE/AF Lock button to enable AF while you hold it down.  The way I shoot with an AF lens is to push in that button, see what it focuses on (which is obvious because of the peaking) and then I release the button, then I hit record.  This means that the focus doesn't change during the shot.  This means the focus isn't hunting around all over the place, it's not focusing on the persons hand or on the person that walks in between you and your subject, it doesn't focus on the background if they move in frame, etc.
It won't follow them if their focus distance changes, which can ruin some shots, but my experience is that AF jumping around ruins more shots than the subject moving does.  Plus, if the subject moves slightly the aesthetic of them being slightly out of focus for a bit is far less objectionable than the AF jumping around for no reason.
IBIS is enabled.
IBIS gets a lot of criticism but if you stand still and hold the camera as still as you can then the IBIS will simply help you to be more stable and the jitters and jello effects can be reduced entirely.  Shooting in fast situations means that tripods and monopods are often too slow and cumbersome, but if you try and emulate a tripod by using IBIS (or better yet, combine IBIS with OIS from a stabilised lens) then you can easily get very stable hand-held shots that with a tiny bit of stabilisation in post can be perfectly locked off without and artefacts at all.
I set my AF to be in the middle of the frame, which combined with back-button focus is really fast and usable.  Even if you do the photography thing of putting the subject in the middle, doing AF, then setting up your composition, it all works perfectly.
I expose using the histogram.
Exposure is a big topic, but I have done extensive testing and have concluded the following.  
In the Standard profile, you can do quite significant changes to exposure and WB in-post, even with simple tools, if you keep the exposure in the middle.  The limits are that if something is clipped then it's clipped (of course!) and if it's in the noise floor then it's also gone.  Apart from that, you have lots of flexibility.
Audio meters show the levels.  I use auto-levelling, but audio isn't really a big part of what I do and if you only shoot short clips like I do then any variation in level that it introduces isn't going to be much over a short clip, and it saves more shots by adjusting itself than it ruins.  You can always set it to manual if you like.
Aperture and shutter speed.  I always use 1/50s when I shoot manually.  Adjust as you see fit, depending on if you want to expose with shutter speed and not use a vND.  Personally, I find that not having the exposure going up and down randomly is a good thing, and adjusting the shutter speed with the dial is just as painful as adjusting a vND.  
If you're using a manual lens then you can just set the camera once, and then all your controls are on the lens (vND, aperture, focus) so that's a really nice way of working.  Lighting doesn't change that much, especially in daytime exteriors, so it's not a big deal.  I've swapped to a high quality 2-5 stop vND and it's got enough range for daytime if you're willing to stop down a bit during the brightest bits.  In busy outdoor situations you don't want to blur the crap out of the background anyway, so stopping down is actually more relevant than isolating subjects to the point where the shot could have been taken anywhere.
The exposure meter is sometimes useful, but it's dumb.  For example if you're shooting a person and a white van drives past in the background it thinks that you should change the exposure.  Obviously that's dumb because you're shooting the person and not the van.
ISO200 = base ISO.  This camera doesn't have great high-ISO, so stick to base ISO when you can.
WB = 5600K.  I shoot exclusively in this mode.  After using auto-WB for many years, I've come to realise that while different lights appear different with a fixed WB, things look like what they are.  During the day things look right, sunset looks very warm but looks right, fluorescent lights look green but that also looks right.  I rarely change WB in post now, and if I do it's to even out and tiny variations between shots just to polish the final video.
My final piece of advice is to get a native zoom lens.  Either the 12-35mm F2.8 or 14-140mm F3.5-5.6 are great, but the 14-42mm kit lens is also very capable and not to be underestimated.  In complex situations you are often restricted in where you can move to, and will often want to zoom in to control your compositions.  Having AF speeds up your shooting substantially, especially when you might only have seconds to get rolling when you see a moment about to happen.
Happy to discuss further if you have questions, and I recommend searching around here, I've been posting lots of stuff over the years, including lots of tests and sharing what I have learned.
Also happy to talk about strategies for shooting coverage, etc.
Once you buy the gear and learn the settings you can make a video.  It's what's in front of the camera and what's behind the camera that determine how good that video will be.

No offence, I am aware of that, and that wasn't the point I wanted to make.

There are no riots in Los Angeles.  Get your information from a real news source.

I had that camera for about 1 month and then sent it back to Amazon because the GX80 came out at the same time. Still, I recorded some great moments on it. One of the videos is so precious that I have it on my desktop at all times.

Indeed it is, and indeed I do!
Haven't turned it on in.. well.. some time.  
I must admit I find it funny that my first video-first camera was the XC10 but moved on because I wanted shallower DoF, and now I'm back to shooting deep DoF with a 10x zoom lens.  This is why I never sell anything - I've lost count of the number of times I learn something new and then pull things out of the discard pile again, and although it's mostly lenses, you never really know.

I think you should.
I think you’d be pleasantly surprised at the degree of enhancement the accumulated knowledge of these intervening years brings.
It’s a camera that has always appealed to me and I’ve been waiting patiently to pick a used one up for £200 for years now.
Still waiting !
Which is likely a testament to how many people have held on to them and are still getting great results .

Man, I lost my GX7 years ago --and when I look at that 1080 footage I still find myself coveting it.

That's a good feeling. Nice to see you posting again as I always like to hear what you have to say. The shots look really good! So, did you get the Arri LUT add-on?

The Alt Cine folks have been posting on the cinepi boards for the last little bit that they are building some cameras around cinepi with some software tweaks/additions/add-ons. 
Today, they announced them - all based around a super 16 Starvis sensor.
Looks like they can record raw up to 4Kp60 in 12-bit readout, 4Kp30 in 16-bit readout, and 1080p90 in 12-bit.
Media is cf express type b.
Interface is 4" touch screen.
 
"Eve" has a c mount and is the most affordable option, battery mount is swappable, they mentioned np-f or v-mount, though it seems like the mount is non-integrated so power will be by dc barrel only - sells for about 450-480 GBP and you need to BYO Raspberry Pi 5 (8GB)
"Elite 16" has similar specs to Eve, but a nicer/more robust body (which fits the Kondor Blue V-Raptor cage) with better I/O and has integrated v-mount as well as the DC barrel.  It has a Micro 4/3 mount which may or may not be electronic depending on licensing - sells for about 950 GBP and includes Raspberry Pi 5
 
The footage looks pretty nice (with the caveat that they're still tweaking the output).  Once they're a little further along, if things are looking good, I'll probably pick up the Eve.  Could be a fun camera to use with my old Super 16 lenses.  The price of the Elite 16 is, I think, a good reflection of the time and effort they put into it, but for me, the body size and cost are a bit more than I'd be excited to pay for a super 16 setup.
 
 
 

Not to bring religion into it, but Jesus wept.
The column highlighted is in the classic Ionic style.
They need to stop teaching the classics at places such as Oxford, Cambridge or in architecture.
And knock down what remains of Ancient Greece.

PS — Just to answer someone else out there to whom I’ve sent this link:
Nothing against it looking like video, if so.
Video is cinema : P 
If this means looking like it was made for the big screen in terms of narrative — well, docs are usually made in a different form.
But docs are also cinema ; )
That narrative form, usually made for the big screen, can also be reached through distinct ingredients such as cadence, dynamic range, lighting, framing and their respective language each element carries. Not to mention editing, pacing, sound design, and how it all aligns with intention.
That is, further to that — narrative intent doesn’t depend solely on medium or format.
Whether fiction or documentary, cinema arises from how all elements are orchestrated: rhythm, texture, spatial composition, sonic atmosphere. The so-called 'cinematic look' is less about resolution or gear and more about coherence — how lighting interacts with story, how movement informs meaning, how editing shapes perception. A documentary can be just as evocative, immersive, and crafted for the big screen as any scripted film — sometimes more so, precisely because it plays with reality through an authored lens.
Think of the slow-burn, meditative tempo of Chantal Akerman’s News from Home, or the hyper-composed observational poetics of Gianfranco Rosi’s Notturno and Fire at Sea — all undeniably cinematic. Or the emotional montage and reflexive voiceover of Agnès Varda in Les glaneurs et la glaneuse, merging essay film and personal documentary with formal invention. Even in cinéma vérité — like Frederick Wiseman’s institutional portraits — the framing, duration, and soundscape create a cinematic rhythm far beyond "capturing reality."
Lars von Trier’s The Idiots (Idioterne) and one of my favourite ever (as you well know ; ) offers another perspective on cinematic form, blending the boundaries between staged drama and spontaneous behavior. Shot with a raw immediacy and handheld style that can resemble documentary, it challenges traditional narrative structures and pushes cinema toward an exploration of social taboos and collective behavior. The film’s use of naturalistic lighting and unpolished texture contributes to its unsettling, immersive atmosphere, underscoring how cinematic expression can emerge from both form and content in provocative ways.
Closer to us ; ) Portuguese cinema brings its own deep contributions to this idea of documentary as cinema. Pedro Costa’s Vitalina Varela or No Quarto de Vanda / In Vanda’s Room unfold in shadow and stillness, shaped more by presence than plot — fiction and documentary blending until the line dissolves. And Manoel de Oliveira — whose films stand almost outside time — gave us a cinema where documentary, poetry, theatre and metaphysics cohabit the frame, inviting reflection instead of reaction.
Also worth noting in the video I’m commenting on here (shot on the Panasonic G7 with cheap C mount glass such as Kern Pizar 26mm f/1.9 and Cosmicar 12.5mm f/1.9 lenses) is the distinctive grain structure — a tactile, organic texture that enhances its cinematic feel. This film grain, far from being a flaw, enriches the image’s atmosphere and adds depth to the visual narrative, demonstrating how video can carry a rich, sensory cinematic language all its own.
All this just to say: the tools of cinema aren’t bound to fiction, nor to any one format. If it resonates, constructs space, breathes rhythm, and asks something of the viewer — it’s cinema, regardless of whether it was shot on film, video, or through a window.

Kern Pizar 26mm 1.9, Cosmicar 12.5mm 1.9 (some shots are punched in to crop out the vignetting).

Love this camera! : ) Right now, I have a crew to start working with my arsenal based on 4x units... What C mount lenses used there?

Means I can also leave my diffusion filters at home 😄
I don't think its that bad actually.