Towd

Fuji want everyone with an MFT or APS-C camera who is eyeing the move to FF to give it a miss and move straight to MF.
Its a good strategy as anyone making the move to FF is also having to factor in buying in to one of the four new mounts (E,L,RF and Z) three of which are far from being established and don't have a plethora of budget options available (although Sigma are rebalancing this a bit with their latest L mount releases).
So Fuji are offering a way to not only leapfrog the quality of FF but also, by being pretty much the only realistic player in the hybrid MF area, removing the uncertainty of which mount to go with.
It also offers the upgrade path to their X series owners to keep them onboard which Fuji would otherwise have to do by bringing out not only an FF camera but a whole new lens range to go with it.
There is an argument that the image bump from APS-C to FF or from FF to MF isn't particularly dramatic (although in the case of the GFX100 it is IMHO) but it certainly is a noticeable one from APS-C to MF.
And thats what upgrades should be about isn't it? Actual "wow, this is so much better" rather than simply "OK, this is better".
The GFX100S may not be the final destination for everyone but it is certainly the biggest signpost yet that there might be one.

Yeah, The Hobbit in HFR was a surprising wake up for me regarding why I like 24fps.  Everything just popped out and looked weird, and I remember a lot of people liking the look.  The newest TVs with their "frame smoothing" feature that generates in-between frames on 24p content drive me just as crazy when I visit a friend's house.
I don't think it necessarily means we'll never be watching movies at 120fps in 32k, but it seems we'll need some technical revolution to help blend in all the cheats used in narrative content from sets and fake backgrounds to VFX.  Maybe in the next decade or two, someone will invent some A.I. filter to better blend the fakery into the real stuff before we run our 120fps export.

Your turn now Panasonic!

Give us a Sony A1 but with the smaller 4/3" sensor in a GH6 and at the low price of $1995! 8K 10bit? 4K 120fps 10bit? Yes please!

I can tell you that I'm a believer. I have the S5 and have had to recover from some really horrible lighting and had to push the WB to the other side of the spectrum....and the footage held up flawlessly, I am able to recover from situations where I had no control over the lighting in ways that I simply was not able to when shooting 8 bit. I am the first one to say I think something is overrated....like I personally think ALL-I is just a waste of storage space, RAW footage for YouTube and Vimeo is an even bigger waste of storage space (unless your editing machine really can't handle LongGOP), external recorders are a waste of money for most people, etc, etc. I have reached the conclusion that for anything short of TV quality commercial work, documentaries (maybe), and feature length films, LongGOP, H.264, and H.265 are good enough. 
But after shooting 8 bit for years and fighting with the color grade especially when the WB was off, I am a believer in 10 bit. I also think 10 bit handles highlight roll-off better than 8 bit which is something that even YouTube viewers will notice if you don't manage to get it under control during editing, but anything beyond that (ProRes, BRAW, etc) as I mentioned before I think is a waste of space, time, and money. External recorders for certain cameras do let you record higher resolutions (like 6K for example) but unless you really do need to crop and recompose that much I think anything over 4K is also a waste.
There is a video that shows 8 bit vs 10 bit side by side on YouTube, I don't remember the title now, but in his side by side tests he reached the same conclusions that I reached on my own; there is no noticeable difference in the final footage, but 10 bit handles highlights and WB correction better.  I think 8 bit is the better way to go if you have the time to properly WB, expose the footage, etc. but when you are shooting hectic events like I typically shoot, or real estate where the lighting is always some weird mixture that you can't control; the extra editing latitude that 10bit provides is very noticeable.

I agree with @zerocool22 the S5 and S1H have identical sensors, LOG profiles, etc. I highly doubt in most scenarios you would be able to tell the difference. I think the reason you think the S1H is a lot better is because it is more likely that the buyers of the S1H are shooting higher end productions where they can properly light the scene, use better lenses, etc. Unless the S1H is shooting 5.9K raw (which BTW even the S5 can do now to an external recorder), the S5 and the S1H should produce nearly identical footage if all else is equal (lighting, staging, set design, lens, etc.). 
Of course the S1H is the better video tool due to not having recording limits, full size HDMI port, and other minor HW details; but none of that really affects the picture quality. In my opinion though, the S5 really shines as a hybrid photo/video camera which is definitely not something the S1H is known for. I don't know if any other camera out there can remotely control 4 wireless flashes using an internal transmitter, unlimited intervalometer, aspect ratio bars in camera, and some of the other S5 photography features that almost no one talks about.
With the upcoming firmware update for the S1, I do think it will then become the best hybrid camera mainly due to the 1/320s flash sync speed and the full size HDMI port. Unfortunately though in my opinion the downsides to the S1 is it uses mismatched recording media, and the screen is not a full tilt flip.....however none of these features means the S1 or the S1H will produce more "cinematic" video than the S5.

Have loved the Panasonic G6, such a big upgrade from the original Panasonic GH1 which I started this filmmaking journey with (although technically it was my girlfriend's Nikon D90 or my sister's Canon T2i that I borrowed for the first handful of shoots), but in recent years I've been considering an upgrade. First to the Panasonic G7, simply to get 4K, but as the price of the Panasonic G85 kept on coming down on eBay that tempted me instead for the better low light, the live HDMI out, and of course the IBIS! But this is a slippery slope, because as I wait... then the Panasonic G9 got that big 10bit firmware update, and their prices were coming down with time too. (& more firmware updates came out too, such as better AF for the G9, and being a USB webcam for the G9)

Never really seriously considered the Panasonic GH5 or GH4, as they always got the most attention, thus I felt they always kept up the highest prices on the secondhand market, compared to the value that the Panasonic G series offered instead. But I still kept half an eye on the GH4/GH5 sales, just in case. Even considered a few alternative options such as Fujifilm, or for instance the Panasonic S1 that I bid on last week until the price shot up far too high for my tastes. In the end I kept on coming back to Panasonic MFT as offering by far the best value for money. (& the fact I already owned MFT lenses helped too)

However, today I won an action for a Panasonic GH4 for only NZ$417! (less than US$300)
That was a price too good to ignore (but I doubt I'd have bid a penny higher), thus to my surprise I find out I've settled with the old Panasonic GH4 as the upgrade from the G6 I'm going with. Even though I'd like the IBIS / better high ISO / etc of the G85 or G9, it isn't such a bad thing to have settled for this cheap deal of a GH4 because it is just going to be for casual vlogging usage to create simple content for my YouTube channel. 

One very small benefit of going with the Panasonic GH4, is that when the price of the Panasonic G9 finally tumbles down to sub US$300 (right after the Panasonic G12 gets released?), then I'll be able to use the same Panasonic DMW-BLF19 batteries in both! (which wouldn't have been possible if I'd got a G7 or G85)

Now, how many more years until I upgrade my "big camera", the Sony PMW-F3? The F3 is a truly fantastic camera! I still think there isn't a better 1080 camera at this price point (but the world is moving onto 4K). Had it a fair few years, unfortunately the F3's popularity didn't last too long because the Canon C300mk1 got released shortly after and the C300mk1 just *dominated* the low / mid end professional work for that generational cycle. (interesting how the secondhand F3 has seen a bit of renaissance in 2019/2020 thanks to Caleb Pike & others)

Been wanting to do the natural upgrade to a Sony PMW-F5 for a while now, but can't justify it because as a Sound Mixer I don't do a high enough volume of camera work. The FS7/FS5 or even a secondhand FS700R might very well make more sense! (I like for instance all the work done with the FS700R by this guy: https://vimeo.com/paulbates However the FS700 isn't as nicely ergonomic as the FS5! That compact size is fantastic)

Just keeping my eyes open for the right secondhand deal, in absolutely no rush whatsoever. (as I'm still primarily by far a Production Sound Mixer, as what I do day to day)

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. 
As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard!  This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer,
There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok".
As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up.
Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

@MrSMW @elgabogomez I stick to the 180 degree rule most of the time especially outdoors. To my eyes if you are filming pretty much anything with a lot of motion in the image it looks almost like the image is stuttering when the shutter speed is too high. 
 
Where I do ignore it however is on the opposite end. With the GH5 I did everything possible to not go over ISO 1600...so if the lens was wide open and it still wasn't enough light I would try dropping the shutter speed to match the frame rate to get a tiny bit more light before having to increase the ISO. This trick worked for me quite a few times.  I also ignore it for drone work. With the wide lenses of the drones and high up in the air nothing is moving fast enough to make it obvious that the motion blur does not match.

Maybe the delay is switching between the C modes. When I switch from Photography to Video even if the video frame rate is set to 60FPS there is no delay. I don't use the C modes though. Or it could be one of the other settings that causes a delay like auto ISO or auto shutter. All of my settings for both Photo and Video are manual so maybe with auto it calculates the proper values prior to showing you the new setup.

There is an R5/R6 user experience thread so I figured it was safe to start a Panasonic S5 user experience thread.  I've only shot with it for a few hours, mostly setting up (and learning) the menus and I know there are already endless YouTube reviews, but I thought I'd share my thoughts on my experience so far; completely unbiased, unsponsored and as someone who will use this camera for everything from music videos to weddings and if all goes well I might even use it for photo shoots.

Since there is so much that I like about this camera I've decided to just put my dislikes first because it is such a short list.
The Grip - This is my biggest dislike. holding the camera is so uncomfortable. The grip is really shallow and the strap mount sticks out and digs into your hand when you are holding it in a landscape configuration. Not so much a problem with video for me since I use the back display, but using the viewfinder for images is very uncomfortable. I'm going to try getting a dual battery grip to see if that improves it. The R6 by comparison feels like it was custom molded for my hands. The Lens Mount - I knew this going into it, but there are so few native Panasonic lenses for this camera that I will have to use an adapter which I hate doing. I know more lenses are coming but they are very expensive and everything I've read says the Sigma versions focus very slowly. I would love a Voigtlander fully manual 35mm lens for gimbal work like I have for the GH5. I have no idea yet what I will do for photography or if I will ever trust this camera for paid photo shoots. The Battery - I don't understand the battery at all. It fits the GH5 and has contacts for the GH5 yet for the S5 the contacts are on the other side? Why didn't they do what Canon did and simply make a higher capacity battery with the same contacts?  Not only are spare batteries impossible to find right now, this means all of my GH5 batteries won't work in this camera....so annoying. Ok, short list over now lets get to the stuff I care about that made me realize this was truly the camera for me. I first ordered the R6 and returned it (horrible user experience for my needs) so I am going to kind of compare my experience with the S5 to the R6 since they probably kind of are targeted to the same buyer and since it is hard to ignore the Canon hype machine even when you know about the R6's overheating issues. 
No Overheating - Ok we all know that but I had to put it out there anyway. This was the number one reason I returned the R6. The S5 on the other hand shoots glorious 4K until the card fills up (some limitations of course for 10 bit and 60FPS but it does have unlimited modes). Even if the R6 didn't overheat you would still hit that 30min limit and every single 4K mode overheated. Dual Slot Video Recording - The S5 gives me every option I could want and even a few I don't care about. The R6 will only record to a single slot. Electronic Level Meter - The S5 has it....of course, and it actually stays on while recording video. For some crazy reason the R6 disables the electronic level from showing on screen while recording video. XLR Audio Module - As annoyed as I am at Panasonic for the battery situation, the XLR module from the GH5 works with the S5 so all is almost forgiven. The R6 of course has nothing for XLR. I tested the module today, the S5 recognized it instantly and the audio was perfect. Free VLOG - Ok "Free" is a very generous term, but it does not cost extra. And this is real VLOG not some flavor that just flattens the profile, unlike the R6 which currently ships with CLOG. Canon said CLOG3 was coming in the future, but who knows if it will actually include the R6 or when "the future" really is. Body Quality - The S5 actually feels slightly lower quality than the body of the GH5, but that could be because it is lighter and smaller. Regardless, the quality feels way better than the R6. Sync/Desync Photo/Video Settings - It took me a long time to find, but it is possible to separate the photo and video settings and you even get to pick which ones stay synced with the other. When running and gunning you want shutter angle, VLOG, etc for video and shutter speed, Natural profile, etc for photos. You can set it so that they are completely separate, not all cameras let you do that and even the R6 did not let me pick which settings to keep in sync (i.e. keep just ISO the same between the two).  Dial Position - It is great to have the video mode and Manual photo mode side by side on the dial. The R6 had them at literally opposite ends of the dial....very annoying. Dedicated Buttons - There is a dedicated ISO button and a AF/MF switch on the lens. The R6 had neither. I use the AF / MF lens switch all the time, its the fastest way to be 100% certain all of the AF stuff is off, especially if you are switching between photos and video. Video Footage - The footage out of the camera so far to me in with my very limited testing is incredible, I didn't think Panasonic had it in them. The colors are perfect to my eyes, the codecs are super easy to play back in VLC and actually easier to edit in Davinci Resolve than the GH5's footage. Both 4K60FPS and 4K30FPS play smoothly even after color grading. So far the footage grades as easily as the R6 footage with the added benefits of not needing proxies. Codecs - You get to pick H.264 or H.265 and still get to shoot in VLOG and 4:2:2 10bit. For some crazy reason Canon with the R6 forces you to shoot in H.265 if you want to use CLOG. I will happily sacrifice a little storage space to never have to try to edit H.265 again. Manual Focus Features - I hated the focus rings on the Panasonic MFT lenses, they were non linear which made manual focusing nearly impossible. I ended up getting manual Voigtlander lenses instead. Panasonic has fixed that big time; not only can you now pick linear you can even pick how many degrees to go from stop to stop. I think the R6 let me pick linear but not the focus throw. I do miss Canon's 3 little triangles when manually focusing, to me that's still the best MF guide in the industry. On my S5, focus peaking doesn't seem to work; its on but I can't see it so I have to play with that some more. Timelapse Photography - Ok I had to throw this one in there. Maybe other cameras have this, but this is literally the first camera I have ever owned that lets you do a time lapse in body without an intervalometer AND that lets you take more than 99 images. That's always been a pet peeve of mine for most cameras.  Wireless Flash Control - Another pet peeve of mine answered by Panasonic, it can wirelessly control up to 4 flashes without needing an additional transmitter. Of course I'll never use this feature since I already have a complete flash system, but for someone starting out this means even less gear to lug around and to buy. Big Red Recording Box - Who hasn't thought they were recording when they weren't? I turned on the big red box right away (as soon as I found it). This is great, and will definitely help in the future. The R6 of course didn't have this. LVF Button - I didn't understand how important this was until I shot with the R6. It was so annoying in the R6 to have to  pick view finder or back screen display. If you picked view finder you had to go into the view finder and navigate back to the setting to change it back. If you picked auto, the screen kept shutting off on me when the camera got to close to my hand or body. Maybe you could map a custom button but I like leaving all of them at their defaults. For the S5 if you want to turn off the viewfinder sensor just press the LVF button...switch to just the VF press it again, switch to auto press it again. So easy to disable/enable one or the other. Auto mode is terrible, switches off the screen all the time if anything gets near the sensor. Here is my neutral list, either I don't really have an opinion yet either way, or I haven't tested the camera enough to feel good or bad about it.
Photography Capabilities - I'm still kind of neutral on the photography department. All I have is the kit lens and didn't have time to try the photography part. If it comes even close to the R6's photo performance that will be good enough for me.  My Sigma adapter gets here Friday so I will be able to test it with my Canon lenses. Auto Focus - I never used it in the GH5 but this time around it is different because I want to try the photography features as well. In my brief testing, the AF worked fine for photography. It still has the hybrid AF option where you half press the shutter button for the initial focus then can fine tune it using the focus ring so that's good enough for me for video. Menu System - It is improved a bit over the GH5 but still nowhere near as intuitive to me as Canon's menus. I think once I set up my Favorites menu it will be fine, but there's so many features I'm having a hard time finding some of them. I never did learn the GH5's menus, I just created a video Favorites list and that's all I use. My 5DIV is a different story.  
Final Thoughts - This camera makes me wish I was a travel photographer/videographer. It has so many uncompromised features that would be so useful when traveling that you could practically literally bring just this camera, a wireless flash, XLR module, a few lav mics, variable ND filters, a small video light, travel tripod, and shoot just about anything photo or video. I'm already thinking about projects that I want to shoot with this camera vs the R6 where all I could think about was if it would even make it through the shoot.

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

Yeah, and this is exactly my point.  If you are Christopher Nolan and have as many shoot days as necessary to block and frame your shots for an I-Max camera, more power to you.  But with shrinking budgets and shoot days, I don't understand why anyone would want to complicate their life by going for a "full frame look" when what they should probably be really concentrating on is just getting their project "in the can" as efficiently as possible.
But I know I'm not changing any minds here ranting on the GH6 rumors thread.  You guys already get it!  🤣
I just hope Panasonic does.

It is interesting that the top three spots on Andrew's list of the most popular cameras on EOSHD are all M43 cameras.  Yet every day we have new posts bemoaning the impending death of the format.  And here we are posting on a GH6 "rumors" thread that is 27 pages long and has been active for over a year.
 
It really feels like the death of M43 if it comes, will be due to a self fulfilling prophecy in the minds of its users and not based in any rational assessment of its adoption or the interest of its userbase.  
If Panasonic does decide to abandon a market that they lead and tries to cram the L-mount down our throat it will be one of the silliest decisions a corporation could make.  But I wont try to predict the future as it wouldn't be the first time corporate heads made a bad call.
For the last year or so now Panasonic has been pushing adoption of their new full frame camera line and they probably want to give it as much room to breath and grow as possible.  I think with the new release of the S5, they'll also want to give it some time for new adopters to buy in before they release any news about a GH5 replacement.   At least that is what makes the most sense to me, but I do agree the lack of guidance from them and full support of the format a bit worrisome.  For example, the EVA1 really should have been M43 with maybe a bundled EF adapter or an interchangeable mount-- that alone may have given their user base more confidence in its future.  It is also too bad that the L-mount and M43 have such similar flange distances that an adapter between the two is probably not in the cards.
That said M43 is still my favorite ecosystem and format and none of the full frame cameras have really pulled me away due to some combination of rolling shutter, cropped video, heat issues, or just the size of the bodies and lenses.  The A7S III looks the most promising to me, but I'm still not entirely sold on the need to move to full frame due to weight/size of the lenses and the shallow depth of field that I mostly consider a negative for video.
Anyway, It would be sad to see Panasonic walk away from a mount that arguably has one of the most diverse ecosystems of lenses and adapters on the market.  Hopefully, we'll get some good news soon from Panasonic after they have given the S5 some time to sell through.

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

Yeah, and this is exactly my point.  If you are Christopher Nolan and have as many shoot days as necessary to block and frame your shots for an I-Max camera, more power to you.  But with shrinking budgets and shoot days, I don't understand why anyone would want to complicate their life by going for a "full frame look" when what they should probably be really concentrating on is just getting their project "in the can" as efficiently as possible.
But I know I'm not changing any minds here ranting on the GH6 rumors thread.  You guys already get it!  🤣
I just hope Panasonic does.

Got the A7SIII as wanted a small body that could do 4k120 10bit with high calibre AF tracking for gimbal work, and more.
Coming from the EVA1 and GH5. 
No footage yet to show. Haven’t used it on a job yet but I’ve took it for a casual spin in the park.
Is the hype real? Not sure yet. Need more time. 
Some observations: 
1. The body is very very light. The buttons are nice to press. The screen is a little thin. The menu button is in the wrong place. The grip is far better than before. It’s much bigger. 
2. The EVF is insane. Never seen an EVF that clear and sharp, ever. 
3. Menu’s make sense, finally. Woo woo. 
4. AF tracking is great. Feels like cheating. I’m not sure how I feel about it as part of the craft though. Feels less rewarding, if that makes sense? Lovely on a gimbal though.
5. Working on a screen this small makes me feel disjointed from the scene. Much less clarity than the EVF. Good I’ve got the Ninja V to test then! 
6. Dynamic range is impressive. Very nice roll off. 
7. There’s a “Shockless” WB. When you change it, it transitions smoothly while recording. Same with ISO and shutter speed. Nice!
8. How am I using ISO 100 in Slog3? Thought this was BANNED. 
8. Rolling shutter looks gone. Ran off. Away.  Thank the Lord. 
9. Battery life - hmmm. Not Panasonic standards. 
10. Tamron 70-180 seemed a bit drunk with close distance AF. 
11. Image looks quite clinical. Used ProMist 1/4 - not judged it yet. Seems better. Will decide later. 
12. Why is the skin tone in FCPX yellow looking when the skin is on the line in the vector scope? Not that the skin tones are bad (they are good off the line),  just doesn’t make sense. Maybe I’m blind. 
13. Colour is better. I’m not sure how much better yet. Definitely an improvement. 

I need to get this thing on a proper shoot. Got a triple music video shoot in Turkey coming up so I’m going to throw it in the deep end on that one. 
Overall, I’m impressed so far but I can’t help feel a slight bit of disappointment when Canon announced the C70, which is the camera I described some years back as the one I would love to have. Now it exists. Funny world. 
 

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

Thanks!  I came to M43 due to the GH5, and have grown to love the format due to its versatility and lens options.  It is just so tiresome to see doom and gloom day in and day out mostly due to some groupthink consensus that full frame is the future, or necessary to achieve a professional look.
Anecdotally, I worked on a long form project that was shot mostly in full frame and it was a nightmare in post.  So many good shots had to be scrapped because the subjects were not all in focus or drifted in and out of focus.  This wasn't just a missed focus problem that could be corrected by perfect focus tracking.  Even when the subject was bang on in focus, a shot could be annoying or distracting because in a 2 person shot or group shot with multiple talking heads another person might be a couple feet off the focus point and look soft.  Micro racking focus back and forth was even more distracting.
Its also worth noting that Hollywood has toyed with large formats in the past like VIstavision, Showscan, and now I-Max.  They are beautiful formats if you have the time and resources to deal with them, but for every day bread and butter work, I find large formats unnecessarily cumbersome.

It is interesting that the top three spots on Andrew's list of the most popular cameras on EOSHD are all M43 cameras.  Yet every day we have new posts bemoaning the impending death of the format.  And here we are posting on a GH6 "rumors" thread that is 27 pages long and has been active for over a year.
 
It really feels like the death of M43 if it comes, will be due to a self fulfilling prophecy in the minds of its users and not based in any rational assessment of its adoption or the interest of its userbase.  
If Panasonic does decide to abandon a market that they lead and tries to cram the L-mount down our throat it will be one of the silliest decisions a corporation could make.  But I wont try to predict the future as it wouldn't be the first time corporate heads made a bad call.
For the last year or so now Panasonic has been pushing adoption of their new full frame camera line and they probably want to give it as much room to breath and grow as possible.  I think with the new release of the S5, they'll also want to give it some time for new adopters to buy in before they release any news about a GH5 replacement.   At least that is what makes the most sense to me, but I do agree the lack of guidance from them and full support of the format a bit worrisome.  For example, the EVA1 really should have been M43 with maybe a bundled EF adapter or an interchangeable mount-- that alone may have given their user base more confidence in its future.  It is also too bad that the L-mount and M43 have such similar flange distances that an adapter between the two is probably not in the cards.
That said M43 is still my favorite ecosystem and format and none of the full frame cameras have really pulled me away due to some combination of rolling shutter, cropped video, heat issues, or just the size of the bodies and lenses.  The A7S III looks the most promising to me, but I'm still not entirely sold on the need to move to full frame due to weight/size of the lenses and the shallow depth of field that I mostly consider a negative for video.
Anyway, It would be sad to see Panasonic walk away from a mount that arguably has one of the most diverse ecosystems of lenses and adapters on the market.  Hopefully, we'll get some good news soon from Panasonic after they have given the S5 some time to sell through.

Of course I would love to have everything the world has, thrown into the C70, but I am trying to be realistic.
Yes, I would love it to have raw, and e-ND, and full XLRs, and SDI, and ProRes, and Braw, and other things, but then it wouldn't be the C70, and it wouldn't cost 5000$, or whatever it costs.
I have the P4K, I have never shot braw, and that camera has NO AF while the C70 may have the best AF at the price point, less audio options, terrible battery life, no ergonomics whatsoever, less I/O, a smaller sensor ofcourse, no ND - which is like number one priority for video cameras. Why don't you go to the P4K thread to complain about all the issues and omissions, I wonder? 
If you compare the C200 release, which HAS raw, you can go and check my opinion back then, and you will see that I was right (same with the first Canon RF cameras), they were stop gap releases, not long time solutions like this C70 is. If you need raw more than what the C70 offers, the C200 will be quite cheap for people to buy it really soon.
Discussing for ever what a product does NOT have, it is just a waste of time in my opinion, but feel free to express yourself as you like ofcourse, sorry if I sounded autarchic, just can not see the point I guess.
The turning point for me, and a lot other professionals in the field, was 10 bit files, and that will be enough for most things in the near future at least, raw is good to have for cheap (P4K) but it isn't a selling point for me and the pros I see working around me.
Cheap raw solutions is more for hobbyists and semi-pros as I see it in real life. I literally have seen noone shooting raw in anything less than a feature, and definitely not on a C200 (par example), I believe using raw is a lot less important than we believe it is in some forums, and maybe Canon knows it.

It is interesting that the top three spots on Andrew's list of the most popular cameras on EOSHD are all M43 cameras.  Yet every day we have new posts bemoaning the impending death of the format.  And here we are posting on a GH6 "rumors" thread that is 27 pages long and has been active for over a year.
 
It really feels like the death of M43 if it comes, will be due to a self fulfilling prophecy in the minds of its users and not based in any rational assessment of its adoption or the interest of its userbase.  
If Panasonic does decide to abandon a market that they lead and tries to cram the L-mount down our throat it will be one of the silliest decisions a corporation could make.  But I wont try to predict the future as it wouldn't be the first time corporate heads made a bad call.
For the last year or so now Panasonic has been pushing adoption of their new full frame camera line and they probably want to give it as much room to breath and grow as possible.  I think with the new release of the S5, they'll also want to give it some time for new adopters to buy in before they release any news about a GH5 replacement.   At least that is what makes the most sense to me, but I do agree the lack of guidance from them and full support of the format a bit worrisome.  For example, the EVA1 really should have been M43 with maybe a bundled EF adapter or an interchangeable mount-- that alone may have given their user base more confidence in its future.  It is also too bad that the L-mount and M43 have such similar flange distances that an adapter between the two is probably not in the cards.
That said M43 is still my favorite ecosystem and format and none of the full frame cameras have really pulled me away due to some combination of rolling shutter, cropped video, heat issues, or just the size of the bodies and lenses.  The A7S III looks the most promising to me, but I'm still not entirely sold on the need to move to full frame due to weight/size of the lenses and the shallow depth of field that I mostly consider a negative for video.
Anyway, It would be sad to see Panasonic walk away from a mount that arguably has one of the most diverse ecosystems of lenses and adapters on the market.  Hopefully, we'll get some good news soon from Panasonic after they have given the S5 some time to sell through.

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

Towd - I think that's a perfect summary of how a lot of us feel about m43 versus the alternatives. A much more interesting post than people constantly ranting about AF performance.....