hansel

Jimmy hasn't used a GH5, if he had he'd see that it had an image that is better than the Sonys, 10bit codec, much better colour, at least 12 stops dynamic range in V-LOG-L, far less compression, less macro blocking, clean shadows and it does have HFR 1080p all the way up to 180fps.

Yep, I figured that (this forum being mostly mirrorless and DSLR users). 
I've not completely conceded that the FS5 is on it's way out. It's something that I'd take very seriously and patiently. 
I'm editing an FS5 / A6500 music video right now - the A6500 image stands proud with the high bitrate 4k FS5 footage - however the 4k 100fps from the Inferno is indeed excellent and unique at the moment. 
Trouble is...I'm not enjoying my shooting with the FS5, but I do smile when I use the A6500. 
I've got a friend with a GH5 and we're going to do a camera swap for a couple of shoots. 
See what tickles. 
p.s I do agree that the EVA1 sounds much better, but then we're due an FS5 II soon.... (it goes on and on and on and on).... 
 

You are not crazy, my fs5 will be posted to new owner
 

 
the 7Q+ used to pair with FS5, sold that earlier
 

 
Current workhorse (c100mkii is from work, hopefully to C200 lol)

I'd definitely sell the FS5.
The question is what's best to replace it with...
GH5, E-M1 II, 1D C and A99 II would all be contenders if it were me choosing!
These are creative cameras that get out of the way.
The stabilisation is wonderful to have on the GH5 and E-M1 II.
The E-M1 II is even smaller than the GH5... Ergonomically if you didn't like the RX10 III you might not like the 'feel' of the GH5's body, which is where the E-M1 II comes in.
The 1D C shoots very decent 1080p, remember... so although the 4K image is clearly better than the FS5 and pretty much everything else, the file sizes can be a hassle unless you don't mind length transcoding sessions and having 10 or 12 CF cards on a shoot.
The A99 II for me is a superb all-rounder which does everything well, especially slow-mo.

I admit I was being a little facetious with my clickbatey topic title...but perhaps no worse than 'guess the camera' posts  I should have opened up the topic more, to ask people to post their favourite drone shot...and why. I often am left cold by drone shots, but this is the first one that somehow engaged me.
I do think this example is valid, (even though it is not from a commercial or film) since it has an interesting narrative idea that could be expanded upon. Using a soundscape/ audio clips from relevant events from the location seems to act as a clever companion to the cameras journey...giving a visual overview combined with audio echo's from the past.
Funky distortion is no doubt introduced from Reelsteady software...but it seems to produce results far better than Adobe's inbuilt warp stabiliser from what I've seen online. Check the second video (making of) to see the original footage, it is pretty darn impressive what the software has corrected. 

Readily available in the UK still as body only. Thanks to the country lurching from one laughable decision to another it won't be long before there is 1:1 parity with the dollar and it'll be worth buying a plane ticket to come and get one!
http://www.wexphotographic.com/panasonic-lumix-dmc-g80-digital-camera-body-1607694/
It does point to a new model but I'm curious to know what they could put in it without threatening the GH5 to be anything other than a relatively small incremental change. Higher bitrates and purchasable VLOG are both available in their top end bridge camera the FZ2000/2500 so it could be those and that could make it worthwhile for upgrading. But either way, a new model will make a used G80 quickly be available sub £400 which is beyond a bargain.
Not to mention the surprise on their faces when I ask if I can test it with my new follow focus controller........
And how doubly shocked they'll be when I put the metabones smart adapter on and they see it doing it with Canon lenses as well......(As shocked as I was yesterday when I got it working !)
But that's for another thread on another day. Like next Thursday probably.

Go vintage. There is very little so satisfying than using a lens from the 1970s or 80s with 5-axis IBIS. To be able to go handheld and focus with your left hand on lenses built for manual focus with smooth focus rings is just a joy with that camera. 
Plus you can find such bargains on old Nikon lenses, or Minolta MDs, or Pentax or Takumars, or Russian lenses. They force you to take your time with composition while setting up your shot and they help to take away that digital look inherent in modern digital cameras. 

I wonder why no one says spec does not means everything ~
BTW，it has canon colour！That is all you need

11. The long term benefits of sunscreen have been proved by scientists

1. Think about the light before anything else. 
2. Change that lens, it may look way better on different glass. 
3. When the talent is in thought, or simply just waiting for a direction, roll the camera without their knowledge. You can get some really useful, very natural moments. 
4. Don't do the shot once. You may pull off the technique better on repeat. 
5. Bring 634 lens cloths to a shoot, because you will lose 633 of them. 
6. Never settle on a grade straight away. Look at it again tomorrow. Those skin tones might be green and you had no idea. 
7. If you're not sure if it's right, it's definitely not. Trust yourself. It's got to feel right, always. 
8. Adjust the light again. It will look better.
9. Eye lights. Make the effort.
10. Buy a RED cam. Send it back. Read EOSHD and get confused. Get a GH5. 

-Throw the 3 point lighting technique out the window and try something different.

1.  Trust your own opinions.  Don't follow what someone likes, even if they are a big shot DP.  Do tests.  Use your eyes.
2. Don't be lazy.  Being lazy is the worst.  Get low on the floor.  Move that light higher or try something different.
3. Be prepared.  Be organized and think before the shoot as much as you can.  Make diagrams and lists.
4. Do not overlight.  Trust yourself in the moment.  Step away from the monitor then come back.  
5. Bounce the light.  Try that first, then direct.
6. Use a capture device like the odyssey 7q and then take screengrabs and you can compare your lighting and blocking.
7.  Communicate as much as you can with your crew ahead of time of how you work.

Yeah, with every passing day of looking at footage I shot, I am constantly disappointed. And the only footage I've shot where I am surprised by how good it looks, is from my 50D with ML Raw, or old BMMCC or BMPCC footage. I am a horrible colorist so I think B&W Raw may be in my future. 

The nikkor 50 1.4 mm AI is a Lens from the 70s. Any actual Lens will butt rape it.

This could get messy

Nobody complains when we compare the FS5 to an A7R II. People need to know what extra they are getting for their money.
Sure the market is a bit different and form factor different but there's overlap... You can't tell me not a single pro is using an A7R II or GH5, can you?
By that same token, not every pro videography or wedding guy is using the SDI on their C200, whose biggest selling point to many people is the lack of need to rig extras onto it like external recorders and monitors via SDI. Not every pro is using timecode to sync footage between 5 other cameras on a shoot and not every C200 user will even be using the XLRs, some will strip it down to the bare bones and put it on a gimbal, with sound done like it has always been done in the film days - a separate job for another man.
So shut up.

@Andrew Reid Thank you Andrew, I believe that until the release of the camera (you don't have to edit something that doesn't exist yet!) all major NLE will support the codec (it is Canon we are talking about, not some brand!).
can anyone please provide the specific hardware that needed for 10 bit workflows (video cards, monitors, etc). Don't we need specific video cards (BM, Aja, Quadro at least) and specific monitors (that cost thousand of euros, I mean a lot of thousands, not just 1 thousands!)? What else do we need? Are the requirements same for raw?
@Andrew Reid I do not like the new voting system. First of all it is very antagonistic, why do we have to down vote? It will increase hostilities into the forum I guess, and I can not see easily who is up voting/down voting. I strongly prefer the older system.

Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds.  For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness.  Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look.
 
I zoomed in digitally mostly around 20% - and it still was too sharp of an image.
Why not shoot it anamorphic instead?   Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. 
Let me know what you guys think of this.
 

Turns out A mount is more adaptable than I thought.
M42 adapter focuses to infinity, costs $3
Leica R lenses can be converted at home with $10 kit from eBay and 5 minutes with a screwdriver, just like I converted mine to Nikon.
There's some nice Pentax lenses in M42 mount and the legendary Tomioka 50mm F1.2
Helios / USSR stuff can join the fun and there is even a 50mm F2 pancake that fits
Helios 44M perfect for anamorphic, so they can play.
So it's not all about buying expensive Zeiss A mount stuff, thankfully.

When the C100 was introduced some 4 years ago it was 52 000 swedish to buy the body only. Today I see them go for as low as 12 000 on the used market.
So.. in 2021 a C200 for roughly $2-2500... or maybe even lower with the way the market is going and how saturated it gets.

Another effect might be a massive drop in the used prices of rivals like the Ursa, FS5, FS7, LS300, etc. 

Gah, where's the 5Dc with all this...
Canon will sell a ton of these. Haters will still find ways to trash them. Panasonic's new camera had better be amazing or its going to be totally overshadowed by this. 

What's really great about this camera is that they added so many specs that they can comfortably raise their specs downline without any Canon fears of eating into their cinema line. This explains the addition of cLog to the Mark IV. 

In an amateur/hobbyist context I think the balance between the fun/convenience of using a camera and the quality of the "product" is an oft neglected debate. Arguably, for some, the "hobby" is at its best when it is fun to do it - in that sense the result isn't even that important. 
I don't enjoy the process with either the A7S or the rx1004 irrespective of the decent output. BM on the other hand is something I find great fun in its sheer simplicity.
Of course, if the bread on the table depends on the output this perspective is irrelevant.

This is all true and there's an organic way to grow your following so you end up with a truer bunch of people, or you can play the numbers game. Anybody can pay to bump up their numbers on social media, I don't believe these accounts showing 150k followers and 200 likes per post genuinely engage 150,000 people otherwise they would have more than 200 likes and comments.
The content should speak to an audience, preferably a niche one at first.
Presentation is important online by the way... and Liam you could start with putting some effort into your profile picture

I can weigh in on this. 
About 18 months ago I was frustrated because I'd get a lot of very flattering positive comments and reviews about my work, but not really seeing the benefit of this financially. 
Unfortunately these days, if you're able to give yourself a great social media presence but you're work is mediocre (as compared to a poor social media presence with incredible work) - it's more likely the former will be more successful. 
I've been studying the "business" and "social media" side of things on a course, and although it would take me far too long to say everything here, the overall conclusion is that marketing does come before your art. Social media is the No.1 distribution platform, so if you're not bothering with it, it could be very difficult to get anywhere. 
I've only just now, this week, picked up my social media strategy. I'm not being false, I'm not doing monetised reviews or any of that crap, I'll just be documenting what I do in bite sizes, and what value I'm able to deliver and help out (in a very non-salesy, authentic, organic, real way). I'm just going to be myself. I'll show what I'm doing as it is. 
I'm also camera shy. So there's that too. 
The difficulty I've had is my creative side feeling starved. The benefit is, I'm hungry to create and the artistic side is about to receive a mighty, mighty push. 
I advise anybody to use social media to show your work and value. But be real and authentic, or the audience will see the "fakeness" a mile off.