Hanriverprod

internal 8 bit 420 like the g7 , external via hdmi out 422 8 bit
personalview.com has a thread on this camera too

8bit 420 internal confirmed by bhphoto video. Not worth the upgrade price.

1dx ii
 

Live stream in 10min.
Fun day today huh gang
http://www.43rumors.com/watch-the-olympus-live-stream-now/

http://www.43rumors.com/official-panasonic-gh5-press-release/
Panasonic Develops the World’s First*1 4K 60p/50p Video Recording
Digital Single Lens Mirrorless Camera [DSLM] LUMIX GH5 Featuring ‘6K PHOTO’*2
Cologne, Germany (September 19, 2016) – Panasonic today announced that it is in development of a new Digital Single Lens Mirrorless (DSLM) Camera LUMIX GH5 that is capable of recording smooth, high-precision 4K 60p/50p and faithful 4:2:2 10-bit 4K video*3 for the first time in the world*1. It also features ‘6K PHOTO’*2 which extracts approx.18-megapixel still images from ultra-high-quality video with approx. 9 times the pixel count of Full-HD. The new LUMIX GH5 is scheduled for commercialization and introduction to the global market in early 2017.
Panasonic has been committed to the development of innovative digital cameras under the theme “Create a New Photo Culture in the Digital Era.” The world’s first Digital Single Lens Mirrorless camera LUMIX DMC-G1 was introduced in 2008*4 and the subsequent DMC-GH1 achieved the world’s first Full HD video recording in 2009*5.
In 2014, Panasonic introduced the DMC-GH4, which realized 4K 30p/25p video recording for the first time in the industry*6. At the same time, Panasonic proposed a new and unique method of photography called ‘4K PHOTO’ which allows users to capture fleeting photographic moments that even the eyes cannot catch, by using super-fast 4K resolution video frames at 30 fps that can be saved as high-quality photos. As a result, the DMC-GH4 is highly acclaimed for its exceptional hybrid performance in both photography and videography by a wide range of professional users worldwide – not only photographers but also cinematographers in the film production field, as well as emerging photo/video-hybrid creators.
By advancing Panasonic technologies, such as digital signal processing and heat dissipation, and packing them into the compact, lightweight body of a Digital Single Lens Mirrorless camera, the LUMIX GH5 enables 4K 60p/50p and 4:2:2 10-bit 4K video recording*3, which has never before been achieved *1. With this unprecedented video recording performance, Panasonic aims to further capitalize on the strength that it has achieved in the film production industry.
In the LUMIX GH5, the conventional ‘4K PHOTO’ function is dramatically advanced to form ‘6K PHOTO’*2 which lets the user cut a still image out of ultra-high-quality approx.18-megapixel video with approx. 9 times the pixel count than Full-HD. Taking advantage of its high-speed, long-time burst shooting capability, spur-of-the-moment shots can be saved in beautiful photos with higher resolution that complies with larger-sized printing by substantially increasing the resolution from approx.8-megapixel (4K PHOTO) to approx.18-megapixel (6K PHOTO*2). Furthermore, approx.8-megapixel 4K Photo images can be captured at a super-fast 60 fps.

http://www.43rumors.com/official-panasonic-gh5-press-release/
Panasonic Develops the World’s First*1 4K 60p/50p Video Recording
Digital Single Lens Mirrorless Camera [DSLM] LUMIX GH5 Featuring ‘6K PHOTO’*2
Cologne, Germany (September 19, 2016) – Panasonic today announced that it is in development of a new Digital Single Lens Mirrorless (DSLM) Camera LUMIX GH5 that is capable of recording smooth, high-precision 4K 60p/50p and faithful 4:2:2 10-bit 4K video*3 for the first time in the world*1. It also features ‘6K PHOTO’*2 which extracts approx.18-megapixel still images from ultra-high-quality video with approx. 9 times the pixel count of Full-HD. The new LUMIX GH5 is scheduled for commercialization and introduction to the global market in early 2017.
Panasonic has been committed to the development of innovative digital cameras under the theme “Create a New Photo Culture in the Digital Era.” The world’s first Digital Single Lens Mirrorless camera LUMIX DMC-G1 was introduced in 2008*4 and the subsequent DMC-GH1 achieved the world’s first Full HD video recording in 2009*5.
In 2014, Panasonic introduced the DMC-GH4, which realized 4K 30p/25p video recording for the first time in the industry*6. At the same time, Panasonic proposed a new and unique method of photography called ‘4K PHOTO’ which allows users to capture fleeting photographic moments that even the eyes cannot catch, by using super-fast 4K resolution video frames at 30 fps that can be saved as high-quality photos. As a result, the DMC-GH4 is highly acclaimed for its exceptional hybrid performance in both photography and videography by a wide range of professional users worldwide – not only photographers but also cinematographers in the film production field, as well as emerging photo/video-hybrid creators.
By advancing Panasonic technologies, such as digital signal processing and heat dissipation, and packing them into the compact, lightweight body of a Digital Single Lens Mirrorless camera, the LUMIX GH5 enables 4K 60p/50p and 4:2:2 10-bit 4K video recording*3, which has never before been achieved *1. With this unprecedented video recording performance, Panasonic aims to further capitalize on the strength that it has achieved in the film production industry.
In the LUMIX GH5, the conventional ‘4K PHOTO’ function is dramatically advanced to form ‘6K PHOTO’*2 which lets the user cut a still image out of ultra-high-quality approx.18-megapixel video with approx. 9 times the pixel count than Full-HD. Taking advantage of its high-speed, long-time burst shooting capability, spur-of-the-moment shots can be saved in beautiful photos with higher resolution that complies with larger-sized printing by substantially increasing the resolution from approx.8-megapixel (4K PHOTO) to approx.18-megapixel (6K PHOTO*2). Furthermore, approx.8-megapixel 4K Photo images can be captured at a super-fast 60 fps.

http://43addict.com/2016/09/19/xiaoyi-m1-coming/#more-386
Specs:
M4 3 Sony IMX269
20.16 million pixels
4K video quality Pioneer
Minimalist design
280g
Lightweight and portable
WiFi + BLE Bluetooth
Instant Share
Just to complete the operation phone Share
Shooting template
Master accompanying
Composition and post-processing setting a button to complete
Standard zoom kit ¥ 2199
Dual lens kit ¥ 2999

body + lens dual stabilization and weather sealing confirmed
http://jacobjamesphotography.co.uk/g80-perfect-hybrid/
First full review:
"In my opinion, as a B-roll or hybrid camera is where this model really shines. 4:2:2 8-bit recording on to SD cards, Dual-IS II in 4K video, Cine-D and Cine-V profiles and a mic input. It’s taking the best features of the GX80 and GH4 whilst slimming down on the niche, high end features. For me, the Dual-IS is the biggest revelation. I had the benefit pain of using a DJI Ronin M with the GH4 for the shoot. Whilst it worked 75% of the time flawlessly, its annoyances were enough for me to hate it by the end of the shoot. There were also times where it was just impractical."
Preview by CameraLabs
http://www.cameralabs.com/reviews/Panasonic_Lumix_G80_G85/
 

I spent a lot of time with this camera over the weekend, including shooting one small awards event with it. On Saturday I shot some tests and last night I did a load more in a controlled environment, alongside the Nikon D5500
I've uploaded all the raw videos to YouTube. Enjoy https://www.youtube.com/user/sebcastilho/playlists
(Please excuse my voice)
I'll be using this channel now to upload more tests I've done with this camera and others I've had in the past.

I take back what I said in my last post. I just did some side by sides with my Nikon D5500 on the Flat profile (which i've previously described as having as much DR as the C100 II) and the Fuji is actually as good or better. 
Attaching screencaps. Some extreme dynamic range tests.
Here's the D5500 with Flat profile

The Fuji at 1080p with ProNeg Standard profile, -2 shadows and highlights, -4 sharpness.
+1 stop of exposure compared to the Nikon (because the Nikon is brighter at the same exposure settings)

The Fuji at the same exposure settings as the Nikon:

Now with contrast at -100 using the Lumetri panel in Premiere Pro:

These were all at 1080p. At 4k there is even more headroom and the colours tend to be noticeably nicer.
 

http://www.43rumors.com/ft5-first-images-full-specs-new-panasonic-g80/
16.0MP 4/3 type Live MOS sensor
No low-pass filter
ON sensor 5-axis camera shake correction
New gyro-sensor technology “Dual IS MK II”
Up to five stages of the anti-shake effect during low-speed shutter
DFD technology
Dust and water proof, magnesium body
Video: 4K30p, FullHD60p
ISO Sensitivity: 200-25600
Continuous shooting: up to 9 frames / sec.
EVF: 236 Man 1.48 times dot OLED (35mm equivalent 0.74 times)
The rear monitor: 3-inch 1.04 million dot, Free Angle
Media: SD / SDHC / SDXC card

The chinese are going to turn this industry inside out next few years

This owner of a ursa mini 4.6k, who received from the batch of new cameras (serial #32xx), tested the magenta issue on a "White board" and "cloudy sky"  f8 on a 50mm prime. He says, "The one of the cloudy sky worries me the most since I see the magenta edges without tempering with the saturation..." for posters in this thread laughing at users testing the images from this camera by pushing it around.
http://bmcuser.com/showthread.php?16812-4-6k-Ursa-Mini-magenta-issues/page91

That definitely doesn't look good. I'd RMA that sucker.

Your first post was fine and i completely understood it. Sorry for the confusion.
Back at my desktop I gave it another try. Just love to grade this footage!

 

A quick test with the very good EOSHD C-LOG on a Canon 60D. The limiting factor in some situations: the 8-bit codec.
 
 

No specs.  Because Canon hasn't decided what feature they are going to disable by firmware yet.

Dutch? German (Deutsch; 'aus Berlin'). Luckily I know both. He says the AF as well 'important' as it is 'convincing' and 'impressive'. He doesn't really like the quick AF, but thinks it probably has its use in some scenarios. He indeed mentions that one shot when she's moving towards the camera that usually would require a focuspuller and now the camera can handle a shot like that by itself.

Some of that autofocus at night wide open when it catches is impressive. That video looks like hyper reality almost cgi like. Can't tell how i feel about. It's alluring but strange. 

eoshd c-log
AF test
Tony Northrup comparison
 

I highly recommend going on Kinefinity's website and downloading their sample clips from the Kinemini and Kinemax as well. Insanely robust footage. I'd put it above even Blackmagic footage for gradability.

Well, I thought we were past the personal attacks, but I guess you just can't help yourself. Indeed, some people never learn or "wise up."
I'm not calling the UM 4.6K "off-the-shelf," as you already assured me that it is not. It is custom designed and exclusive to BMD. Fair enough. The Fairchild sensor, on the other hand, is listed as available to the public and is by definition "off-the-shelf."
I never said ASICs are related to sensor design, but they are part of the image processing chain, which I wrote about back on page 6 of this thread:
"It appears that BMD has to involve third parties like Fairchild in sensor design, suggesting that they don't have the same mastery that RED currently has. This lack of expertise may lead to problems such as we have seen with magenta-gate, considering how the sensor and its integration into the surrounding circuitry and the larger image processing chain would have to be designed with absolute precision."
http://www.eoshd.com/comments/topic/20526-ursa-miniis-this-the-end-of-blackmagic/?page=6
You apparently forgot to read this part. My point is simply that when you design all the components in-house and have demonstrated expertise in sensors and image processors, it is easier to avoid such problems in the first place and to diagnose and repair problems as they come up. RED had numerous mishaps in their 10-year history, as you well know. BMD is just starting out and has to go through a similar learning curve as with any company that is new to designing cameras. That's about it.
ARRI, RED, Canon and Sony all have numerous patents relating to their cameras. BMD needs to complete its patent applications, which I cited above, in order to put them is the same category. They are surely aiming for just that kind of recognition after designing an advanced camera like the UM 4.6K. At least, I would hope so.

Point taken... Yes I was being lazy. So here are some heavy handed grades to see how far this footage can be pushed before it crys like a little baby. And I can tell you it seems to hold up pretty dam good. Lots of room to get some crazy color grades and it keeps it's cool. This footage is definitely more robust in post than anything from a DSLR. I would love to get my hands on one to see how it handles in the field.