Adept

Posted this in the wrong thread yesterday, me silly.:) So here again where it belongs:

The evfs for photocameras like the lumix gx1 and oly pens were tiny. It would be awesome if someone did a mod to them so they could be hooked up to the bmmcc via hdmi.
I'd still like to know what evf Cesar Charlone was using here with a SI-2K. Looking very slim.

Interesting post. I really like the GX85 shots. It's a shame that Panasonic hasn't upgraded the GX85 and G85 with 10bit.
But I think the biggest takeaway is that Canon sucks.

This leaves me with the best setup being either the iPhone by itself, or the iPhone + GX85 which means that the iPhone can do the wide and the GX85 can do the normal and tele FOVs.
The 14mm is good when combined with the 2x digital zoom, but still lacks some flexibility.  When I got home I put on the 12-35mm f2.8 zoom and while it's far more flexible, going a bit wider and hugely longer, the additional size puts it half-way to the size of the GH5 and severely hurts Priority 1 and 2.
This left me with a choice:
iPhone wide + GX85 + 14mm iPhone wide + GX85 + 12-32mm f3.5-5.6 iPhone wide + GX85 + 12-35mm f2.8 iPhone wide + GX85 + wide-zoom like 7-14mm or 8-18mm The question was if the iPhone wide camera was good enough in low-light.  I reviewed my footage and basically it's good enough indoors in well-lit places like shops or public transit, good enough in well-lit exteriors like markets, but very very borderline in less-well-lit streets at night.
For my purposes I'll live with it for the odd wide and will lean heavily on NR, which will give me the ability to have a longer lens on the GX85 which extends the effective range of the whole setup.  
I did a low-light test of the iPhone, GX85 and GH5 and found that the GH5 and GX85 have about the same low-light performance, iPhone normal camera is about GX85 at f2.8 and the iPhone wide is about GX85 at f8.  Considering that iPhone-wide/f8 was very borderline, if I aim for something like f4 or better then the lens should be fast enough in most situations I find myself.  I don't really find myself wanting shallower DOF than the 14mm f2.5, and could even have less without much downside.
This means that the option of a zoom lens is not out of the question, and the 12-32mm pancake seems a very attractive option.  It's larger than the 14mm when it's on and extended, but when it's off it's basically the same, and it would give a huge bump in functionality.
I took a number of timelapses on the trip too, and having a zoom would make these much easier as well.
I'm contemplating the 45-150mm as well, but we'll see.

The last is the GH5.
Firstly, it's noticeably larger than the GX85, so much so that it's not pocketable (despite what BM might claim) so it's less convenient to transport, and it's not "palm-able" either so you're walking around obviously holding a professionally-sized camera, regardless of what lens you use.
I tried taking it out with the 14mm lens one day instead of the GX85 and I found it more cumbersome to carry, more conspicuous to passers-by, and even subtly more imposing on my family.  When I accidentally found myself carrying it through anti-government protests (long story) I was thankful that the riot police weren't looking for anyone that looked like foreign media.
I typically pair it with manual-focus lenses, and found this to be quite cumbersome compared to the AF of the 14mm lens, but with faster lenses you need to worry about what it will focus on, so it's a whole other ballgame which even the animal-eye-AF cameras get wrong because they don't know which cat you love the most.
While the EVF is reasonable, but not great, the screen is cumbersome to use unless you're shooting from eye-level as you need to flip it out to be able to tilt it, not only making the camera a lot bigger (physically and perceptually to everyone) but also less manoeuvrable and more fragile if you get bumped etc.
Obviously the image is the nicest out of all three cameras, but you really pay for it in size and weight.
For Priority 1 and 2 it's definitely the last-resort, and I'd only pick it over the GX85 in very specific circumstances now.

The GX85 is the next challenge.
For Priority 1 it needs to be kept handy and accessible.  This means either being kept in-the-hand or kept in a pocket - keeping it in a bag adds access time unless the bag is on the front of my chest.  Both of these mean that the rig has to be kept as small as possible, which essentially boils down to lens choice.
The 14mm f2.5 lens is an absolute gem in this regard.  In the 4K mode (which has a 10% crop into the sensor) it's got a 30.8mm equivalent FOV.  I edit and deliver in 1080p, like all sensible people in the real world who haven't confused their ass for their elbow do, and so I can also use the 2x digital crop feature, which gives a 61.6mm equivalent FOV.  These two FOVs are hugely handy for showing people interacting with the environment around them - environmental portraits.
It also has good low-light, good close-focus distance, and has a bit of background defocus if the subject is close.
I have the GX85 configured with back-button focus.  This means that I hold down a button on the back when I want to engage AF and hitting the shutter button doesn't engage it.  This works brilliantly in practice as it means that I can focus once for a scene and then shoot without having to wait for the camera to AF.  I also have the viewfinder set to B&W and have focus peaking enabled in red, making it easily visible.  The histogram is also really handy to know what is going on too.
For Priority 2, this setup works well - the tilt-screen is great, AF is super-fast, IBIS is impressive and very functional, and I find using it in real-world situations to be easy, fast, and very low-friction.  It still gets some attention, but it's not excessive.
I find that for most shots I want to stop down to ensure that everything is in focus.  This is because my work is about the subjects experiencing the location and the interactions that are going on.  A nice portrait with a blurred-beyond-recognition serves very little purpose as it could have been shot anywhere at any time and therefore has no relevance.  This lens can give a satisfying amount of background defocus for mid-shots if required, and especially for macro shots, which are occasionally relevant in an edit.
Here are a few grabs SOOC.  
In grading I would typically lower the shadows to the point where the contrast is consistent (assuming it makes sense for the scene - lots of these have haze which you have to treat differently) and I would even out the levels of saturation etc.  I'd also sharpen or soften images to even out the perceptual sharpness too.
Interestingly enough, most of these images have enough DR, and even have elevated shadows, despite the camera not having a log profile.










These provide a really solid foundation to grade from.

So, where does this leave us?
Well, the iPhone wins Priority 1 hands down - so many people are vlogging or whatever in public now that it's almost invisible and I feel very little friction in using it.  It's always handy in an easily accessible pocket, and the camera is fast to use from the lock screen.  Once you're in the app it changes FOVs almost instantaneously, and will even change camera while recording, so that's hugely usable too.
It's also pretty amazing at Priority 2.  The stabilisation is simply incredible - I do the ninja walk pretty badly but it manages to give practically perfectly stable images even when walking on stairs etc.  The AF is also fast and reliable, and because it has a very deep DOF it doesn't have the problem of choosing the wrong thing to focus on.  It's got a large screen that is pretty easy to see in full-sun, even if you're trying to get a high or low angle and aren't looking straight at the screen.

I've gone through a journey over the last few months, and have come to a new clarity in my work.
As most know, I shoot video of my family but want to make it look as much like high-end TV and films as possible.  This involves shooting in completely uncontrolled situations with no re-takes.
My new found clarity is this.  
Priority 1: Get the shot
You can't use the shots you didn't get.
Priority 2: Get shots in the best way
Shots that aren't in focus, are shaky, don't have good composition etc aren't optimal.  Also, having shots where subjects are aware and nervous of the camera, people in the background are staring at the camera, etc are also not optimal.
Priority 4: Get the nicest image quality
Insert all the normal camera stuff here...  DR, colour science, etc.  No, I didn't mis-number this, it's priority 4 because it's so far away from priority 1 & 2 that there is no Priority 3.
Priority 1 is about feeling comfortable pulling out the camera and shooting, and having it be easy and fast to use.  No fuss.
Priority 2 is about stabilisation and focus, but is also about camera size.  Smaller is better.
This means that iPhone > GX85 > GH5, but unfortunately for priority 4 it's the opposite.
Overriding principle: Use the biggest camera that won't draw too much attention in the situation.
My first challenge was to see if using the iPhone was going to even be feasible.  I mean, the image quality that I saw from it was horrendous.  @mercer laughed when I called it "MAXIMUM AWESOME BRO BANGER FOR THE 'GRAM" but it was potentially the most savage insult I could think of - and the way to make images look as cheap and amateurish as possible.  I own the iPhone 12 mini, which has the normal and wide cameras, but not the tele.  One thing that escaped even my attention was that this has HDR and 10-bit support natively, so it's got at least some potential.
Long story short, I filmed a test scene with all three cameras, as well as a colour chart I made in Resolve and a colour checker and attempted to match them.  Matching to the GH5 was obviously not feasible, but I like the GX85 so I matched to that.  Matching the GH5 to the GX85 was as simple as making a few basic adjustments.  Then came the iPhone.... I tried matching the scenes first, with limited success.  Hues and saturation and Luma behaviour were clearly different and not in easy or nice ways.
That's when I turned to the colour chart and tried to look at what was going on.  At first, the iPhone vector-scope was horrifically tangled, but in a stroke of luck I noticed that the luma curve was pushed up to brighten the mids, and when I brought it back to being linear, the vector-scope immediately fixed itself and was stunningly plain and straight-forwards.  Win!
This is the before/after of the greyscale from the colour chart:


While this isn't a perfect linearisation, check out this before/after of what it does to the vector-scope from my Hue vs Sat test pattern in Resolve....


(I'd removed a few rows in the mildly-saturated region so I could more easily compare between cameras.  This is the GH5 in HLG without a conversion to 709 for comparison)

If I apply a CST to the GH5 (from rec2100 to rec709) and include saturation compression, we get this horrific thing:

I've used that CST technique in the past and it's been fine on real footage, so it's not as bad as it looks.  But the moral of the story is that the iPhone now has easily manageable colours.
I was absolutely stunned when I realised that grading the iPhone footage could be as easy as working with the GH5 footage.  Plus, it's 709 footage in 10-bit, so it should be prone to less banding and artefacts than the GH5 footage, which is 10-bit log.
Next step is to use the colour checker to match the hues and saturation levels of the GX85.
Here are the vector-scopes before matching..  GX85:

GH5:

iPhone with curve:

Obviously the iPhone is nothing like the others, which is what you'd expect - Apple gave it a very distinct look and it's very different to the Panasonics.
I also took shots of the colour checker in -3 stops and +3 stops.  This showed that on the underexposed image (-3 stops) the iPhone is less saturated than the GX85/GH5 and on the overexposed image (+3 stops) the iPhone is more saturated.  Resolve has a curve for this.  I couldn't match it completely as it required a brutal adjustment but I pushed it in the right general direction.
After applying some hue and saturation adjustments, we get quite a good match.  iPhone:


The plots at -3 match well, but the plots at +3 are all over the place, with the GH5 clearly having some rather strange issues.  I'll ignore these for now - the goal is to make the iPhone into a camera that can be used for filming more than just memes, it doesn't have to match perfectly.
I also applied a gaussian blur to the footage to un-do the horrendous sharpening that is applied.
Here are some sample images from a recent trip with the above adjustments applied, without even adjusting each image individually - this is just the starting point.  As I shoot auto-WB I'd be adjusting each image individually, main focusing on skin-tones.  It should also be noted that these adjustments apply equally well to the normal, wide, and selfie cameras, and also apply to the 1080p120 and 1080p240 modes from both the wide and normal cameras.  These shots include a mix of these.





It looks like a real camera to me!  Not the best in the world, but it doesn't make me regret shooting with it, so firmly in the usable category.

Just a video I made on the two cameras. I kind of rushed this video out there. If I ever get a chance I want to do more in depth testing. It really is hard to find time to make this kind of thing.

I did really like the Komodo. I think the dynamic range difference is obvious and you are not going to make up for it by just exposing for the highlights as the komodo shadow retention is not unlimited. However I really do think RED has greatly improved their color science on the Komodo though it still doesn't match perfectly to an Alexa.

Also yes these are just straight out of camera no color transform. A lot of people aren't going to be coloring in resolve so I thought it was best to just show a comparison with the manufacturers 709 luts applied.

This is what I came up with in Resolve using the color space transform tool. ARRI on top.
 

No, no, no, not at all.
Its just a covincidence 🙂
 

I remember @Emanuel raising the possibility of using Micro Four Thirds glass on Fuji cameras.
Well I asked RAF Camera to make a prototype for EOSHD and here it is.




So in past year I have been experimenting with a lot of M43 glass on the Super 35mm sensor of the Fuji X series cameras.
We see beyond the usual 2x crop image circle!
Here's what I found:
- X-T4 has a Micro Four Thirds 2x crop mode in the menus. So you can use anything on that, basically.
- The adapter doesn't have any electronics capabilities (maybe later?) so I have only been trying manual focus lenses
- Voigtlander super fast F0.95 primes look lovely on a Fuji!
- Some M43 lenses even cover the entire Super 35mm sensor
- X-H1 is 1.7x crop in 4K so that works well, as it is closer to the 1.86x crop of the GH2 or multi-aspect sensor Panasonic bodies
- The affordable Meike cinema lenses work brilliantly as these are all Super 35mm lenses just different mounts (they come in Fuji X-mount versions and Micro Four Thirds, with same optics for both)
- SLR Magic stuff very tasty with it especially on the X-T4 in 2x crop mode
- Focus to infinity is fine (sometimes slightly over even)
So I am wondering, how much interest would there be in an EOSHD branded adapter for Fuji X cameras, that enables you to use Micro Four Thirds glass?
This is the only adapter in the world of this type.
I have been wondering how many of you have both Micro Four Thirds mount glass and Fuji cameras, maybe you switched but didn't sell all your GH5 lenses? Maybe you are just curious to turn your X-T4 into a GH6? Or interested to discover the unique images made from one of your exotic Micro Four Thirds mount lens on an X-H2S?
Also rather than buy separate lenses for Fuji and Panasonic you can use one set on both systems (as in Meike 25mm T2.2 for instance!)
If there is enough interest in the adapter I'll put RAF on notice and finally start that Indiegogo up!

Decided to get a proper RAW cine camera. It was between RED and Blackmagic. The RED seems to have more mojo, especially the older EPIC and Scarlet. I am also trying a RAVEN out.
The older REDs are not expensive now. Paid £1790 for an EPIC-X, with 5K 120fps RAW.
But when building it out, that's when the costs start rising.
But for under $3500 you can definitely get a good kit.
It's about the dynamic range and RED raw for me. The colour science is also very nice.

The chart is actually a little bit misleading - there weren't three films shot on A7 cameras.  Of the 49 feature films that premiered at Cannes, three of them used an A7 camera within their camera lineup.  Of course, the A7 might only have contributed a single shot to the film to be included.
The list is:
 

I agree, the Fujinon XF 18-120mm F4 LM PZ WR Parfocal Hybrid Lens is more exciting!
First ever collaboration too between the two branches of Fujinon vs Fujifilm. 

I think the GH6 is a triumph of incremental upgrades that provide a real difference when shooting run-n-gun video in the real world.
With the headline features so prominent, it's easy to miss the many smaller improvements that can actually make a big difference to shooting.
We talk about cameras like they're museum pieces or engineering spectacles, but often these things don't translate to the real world.  The following are my views of the GH6 from the perspective of a travel videographer upgrading from the GH5.  I've tried to include as many example images as I can - please note that these aren't fully graded and are often compromised due to me pushing the limits of what is possible from the GH5, what was possible under the circumstances, and what my limited skills could create...
But let's get some obvious things out of the way first.
Things I don't care about.....
Autofocus
The AF is improved.  People who used the GH5 AF will like the GH6 AF, and people who didn't like the GH5 AF probably won't be moved by the GH6 AF.  I don't use it, basically ever, so I don't care.  If you do care, then good for you..  move along, nothing to see here.
Extra resolution
There's more resolution, but the GH5 had enough resolution for downsampled DCI4K and lower resolutions, and the 2x digital zoom and ETC modes provided useful cropping modes as well.  The extra resolution doesn't really matter to me.
Size and weight
I care about this a lot actually, but it's not substantially larger than the GH5 from the front, which is the dimension that matters when filming in public.  The extra depth is immaterial when you have a lens on the camera.  The extra weight is unfortunate, but isn't that much and is well worth it for the fan and screen improvements.
Internal Prores
Prores is a professional codec that offers considerable improvements throughout the whole workflow.  I'm not going to say much else on this as I created another thread to talk about this but it's great to have the option, and I definitely appreciate it.  Many people were happy with the GH5s codecs, especially the 10-bit 422 ALL-I codecs, which were a shining beacon in a sea of poor-quality IPB cameras, but even those have been improved....
Huge improvements on h264/h265 codecs
The GH5 had 200Mbps 1080p and 400Mbps DCI4K, but the slow-motion modes are limited to 150Mbps (4K60) 200Mbps (1080p60) or 100Mbps (1080pVFR up to 180fps) and the effective bitrate dropped significantly when you conform your 60p or 180p footage to 24p - as low as 13Mbps!!.  The GH6 has 4K60 at up to 600Mbps (SD card) or 800Mbps (CFexpress type B) - an effective bitrate of 320Mbps, and in 1080p240 800Mbps which is an effective bitrate of 80Mbps.  
Oh, and these are all 10-bit 422 ALL-I, as opposed to the GH5 8-bit 420 IPB.
Oh, and also also, the 120p is now in 4K too.
If you're shooting sports this is a big deal as often players are in direct sunlight, depending on the time of day there might not be much ambient fill light, and any reflections from the field may be strange colours such as green grass, or various coloured artificial turf, which will drastically benefit from the 422 10-bit when colour correcting footage.  The extra bitrate is also great for having clean images when players may be bright against a very dark background really highlighting any compression nasties on their edges.  The ALL-I will be great in post too.
I'm curious to see what the 300fps looks like in real-world situations, but I've shot a lot of sports with 120p and it seems slow enough to me.
Dynamic Range Boost
This is a big deal for anyone recording in uncontrolled conditions, and especially for travel.  This isn't a vanity exercise or BS tech nerdery, this is a real creative consideration.  When you're shooting travel, the film is about the location and the experience of the people in that location, and the weather is a key consideration of this.  With the GH5 I often had to choose between clipping the highlights (ie, sky) and exposing for the people.  I also chose to expose for the sky on my XC10 and in combination with 8-bit C-Log recorded a large amount of spectacularly-awful looking footage of my honeymoon.
Here's a frame of C-Log SOOC from that debacle:

The shot was also mixed lighting with the subject in the shade, being lit by a coloured Italian shop-front immediately behind me that was in full sun....

Being forced to decide between the subject and the sky is problematic if the shot you want is "person at location X at sunset" and you can't feature that person and also the sunset.
It's also relevant for anywhere with tall buildings that create deep shade - the below is a nice dynamic image but it's a tad overdone and not how we actually see the world:

My experience with shooting the OG BMPCC / BMMCC is that their ~2 stop advantage in DR over the GH5 almost completely covers this gap.  Images with someone standing in-front of a sunset no longer feature either an anonymous shadow person swimming in technicolour-grain or a digitally clipped sky.
The GH6 DR Boost feature will help in these situations, allowing subjects to be filmed in-context rather than only in select locations were the light is just right but the scene is irrelevant.
Would more be better?  Sure.  I can hear lots of people thinking "go full frame then - moron" but the GH5 was (until now) a camera with a unique set of features not bettered by any other offering for this type of travel shooting, so while the current alternatives give with one hand they also take away with the other, normally taking away a lot more than they give.
Full V-Log
Having a colour profile that is supported natively by Resolve is a huge thing for me, as it allows WB and exposure adjustments to be done in post without screwing up the colours.  This is important because in shooting travel there are times when you can't even stop walking to get a shot, let alone have enough time to pause, get exposure dialled in, and heaven-forbid to pull out a grey-card and do a custom WB!  A great man once said "tell him he's dreamin"!
This lighting all looked neutral to the naked eye - GH5 HLG SOOC:

The advice I got from the colourists on that was to lean into it and just pick one or the other and balance to those, but sometimes the mixed lighting isn't really something you want to lean into....  GH5 HLG SOOC - look at the colour temperatures on the grey sleeve from what appears to be the strip-light from hell hanging just above their heads:

Better Low-light performance
Filming in available light in uncontrolled conditions often means needing to use high ISO settings.
This is a shot I've posted many times before, and the BTS of me shooting it, in a row-boat lit only by the floodlights on the river bank maybe 50m away.  

Notice that the smartphone taking the BTS photo couldn't even focus due to the low-lighting.

It was using the GH5 in full-auto (likely a 360-degree shutter) and with the Voigtlander wide open at F0.95.  I don't know what the ISO on the shot would have been, but there's quite a bit of noise, especially considering this is a UHD clip downsampled from 5K in-camera (200% zoom on a UHD timeline):

I don't mind the quality of the noise actually, and it responds to sharpening really well giving quite an analogue image feel, but if the image is this noisy then the colours aren't going to be at their best, and that isn't desirable.
There are a number of fast primes on MFT (ie, faster than F2) but getting sharp images wide-open is problematic, even from the very-expensive Voigtlander f0.95 primes.
The GH6's improved low-light is great, and not only does it allow recording in ever-darker environments, but it also allows the use of modest lenses and faster lenses stopped down to be within a higher quality part of their aperture range.  An extra $1000 cost on the body of a camera seems like a lot, but if it saves you $500 on every lens because you can buy slower lenses then it's an investment that has a reasonable return.
...and lest you think that the above is an extreme example, having good low-light performance is really just about filming people doing what they're doing, and in case somehow you haven't noticed, it's dark outside about half the time and people go out into it and do things.
Another example, here's a shot taken right at the end of blue-hour:

and minutes later, here's a shot showing what you can get when lit only by the light of a phone, and providing a reference for how dark this location was:

Think of the benefits of better low-light performance here.... it's very low-light, mixed colour temperature lighting, and the main feature is skintones.  The noise on the GH5, with the Voigtlander wide open is pretty brutal:

New Screen
My XC10 has amongst the nicest ergonomics of any camera and a big part of that for me was the tilt screen that didn't get in the way when using your right hand to hold the camera and the left to support the camera and manually focus the lens.  The fact that the new GH6 screen allows for both tilting as well as for flipping is great.
Contrary to what many believe, the 'flippy' screen is actually very useful for filming things other than yourself.  Any time when you cannot stand directly behind the camera is when the flipping screen is useful.  I have used it while filming out of windows (such as in moving vehicles, filming the view around the corner of a panorama framed by an arch, or taking a sneaky shot of the kids around a corner without them spotting me and pulling faces).  
Sometimes you need to hold the camera in funny ways to get a shot:

They're also very useful for those who want to take vertical photos from a low or high angle.
Fan
The GH5 never overheated on me, even in desert conditions, unlike my iPhones have on many occasions, and the GH6 will never overheat either.  It's not an "improvement" in the sense that it doesn't offer anything new, but it is a guarantee that all the extra other features won't come at an unacceptable cost.  Having a camera that overheats is just stupid, and Panasonic doesn't insult us by providing tools that aren't reliable.
Punch-in while recording
Checking focus while recording is a pretty fundamental thing, and the GH5 didn't have it (and didn't have the best focus peaking either) but now the GH6 does.  Boom.
Custom Frame Guides
The frame guides on the GH5 were worthless - pale dotted lines that were difficult to see under ideal conditions, let alone while holding the camera at arms length in a moving vehicle. The GH6 has custom frame guides that have a much more visible outline and also dim the out-of-area image, making it super easy and intuitive to use.
Frame from @Tito Ferradans review on YouTube:
 

I might be tempted to engage this for a 2.35:1 permanently and then choose what ratio to use in-post when I get to editing.  I've tried to shoot for this ratio before with the GH5, forgot and couldn't see the frame guides and intuitively composed like normal, and then downloaded the footage and found that I'd framed every shot too close for the ratio.  Fail. 
Buttons and controls
The GH6 has more programmable buttons than the GH5 (which was already great), and the extra custom slot C4 on the mode dial is very welcome.  I have my GH5 configured to be C1 1080p24, C2 1080p60, C3-1 1080p120, C3-2 4K24 (in case there's something I'd need 24p for), and C3-3 as 4K manual everything for shooting camera tests.  The first four modes are ones I want to just be one dial away while I'm out shooting, so having the extra one is really useful.
The GH5 also saved the preset focal lengths for the IBIS on a per-profile basis, so when you switch profiles you switch focal lengths.  This is important because when the camera goes to sleep it wakes up but forgets the focal length and goes back to the default one for that profile.  As such, you could duplicate profiles and use them to swap between focal lengths, like if you were recording sports on a manual zoom lens, just to name a purely-theoretical example that no-one would ever contemplate....

Better IBIS
The GH5 IBIS is great, and when you shoot with fully manual primes and without a rig, is an important function.  Having improved IBIS on the GH6 is very welcome and can really help salvage shots that wouldn't otherwise have made the cut.  One of the killer features of action cameras is that you can put them anywhere and get a huge variety of images while out in the real world, and that works for MILCs too, but if you're balancing on a chair and shooting at full arms-reach to get a shot and the IBIS isn't able to take up the slack and stabilise it, then it won't make the edit.
It doesn't matter how good the stabilisation of something is, there are instances where it will fail, and I seem to keep finding them.
USB-C port
The Prores and high bitrates will chew through storage and the ability directly record to an SSD would be spectacular.  Being able to charge the camera with USB-C would also be useful in some instances. 
In camera LUT support
I'm yet to see how this is implemented but LUTs can be great references while shooting.  You can use LUTs for things like false-colour, sure, but I'll be very interested in experimenting with ones that are very high contrast to allow for better visibility in bright conditions, and other more extreme applications that help you get the shot.
I normally use the EVF on the GH5 as it eliminates ambient light and adds another point of contact for better stabilisation, but sometimes you have to use the screen and it's not always ideal, so these could be useful for that.
Better colour science?
The GH5 colour science wasn't winning any awards, and the GH6 combination of V-Log + Prores + higher bitrates + higher DR seems to be noticeably better, which is a welcome improvement for me, especially as I am struggling to shoot in difficult situations often involving mixed WB lighting and other nasties.
The latitude tests from CineD look spectacular:



This will allow huge flexibility for imperfect shooting conditions.  Many times I pull up the shadows in an image (maybe I was trying to get the subject and the sky in the shot - shock horror) only to find the shadows a tinted awful mess.  If they look like the above then it will be tremendously useful in practice.
4-channel audio recording with the XLR module
This is slightly tempting for me.
In post I want a stereo ambient sound, and I also want a directional audio from a shotgun mic, ideally with a safety-track.  I can get either of those with the GH5 pretty easily by using the Rode Videomic Pro Plus with the safety-track feature enabled, and simply unplug it when I want a stereo ambience track using the cameras internal microphones (which are good enough if you're only using this in combination with music and other sound-design).
But the problem is that I don't know when something will happen, so if I'm recording stereo ambient sound I don't know if my subject will say something at the same time that a car goes past behind me, and I also don't know if my subject will say nothing while I'm recording directional mono audio and then before I know it we'll be somewhere else and I'll have no ambient audio from that location.  If this situation seems far-fetched, you've obviously never been on a tour bus in a third-world country before, where you might get dropped off near a small market, you then walk though the market with your group, where there is a stall every 5 steps with a different composition / lighting / and ambient sounds, and there is literally only room for people to walk single-file and you don't have time to stop at each interesting booth for a minute as you capture different compositions and audio options without losing your tour guide.  
Being able to stop for a few seconds, smile at the person there, and grab a few seconds of action with directional audio and ambient sounds would be really useful.
 

I don't fancy the added size of the module though.  
Audio screen
The GH6 has an audio button function that brings up an audio screen showing all the audio things you'd want.  Perfect for quickly checking how the audio is going.  With so much going on while shooting it's easy to forget to look at the meters OSD, and having everything in one place seems excellent.
I've screwed up the audio on many occasions, so this will be quite useful.
In summary....
The GH6 has tonnes of little improvements that I think will make it a much more useful camera when out in the field recording things in difficult conditions as they happen.  It looks like Panasonic has done a great job in not just grabbing headlines, but in actually taking the things that niggle or limit real shooters and making them better.
Now, if only the world would return to a state where I'd feel remotely comfortable wandering out into it with a camera in hand.....

Lets not be too hasty.
I think this idea probably warrants a ten page thread of attrition about what codec you are going to use before you put pen to paper.

I can tell already this post will be long and probably ramble a bit so I will apologize in advance 🙂. For me, purchasing the C70 was a years in the making decision because I do not make new camera purchases lightly. My goal with a camera body purchase is that it fits with minimal additional investment into my existing camera ecosystem, it will perform its purpose for at least 5 years, and it will handle my specific type of projects.  Everything in this post is based on my own personal style of shooting, the types of projects that I get hired to do, and the gear that I already have. I am also posting this after owning the camera for less than 48hrs so my views may change over time.
After using the camera on a single shoot, I thought about how I would describe it in a single word.....and quirky keeps coming to mind. I'll get to more on that later, but in comparison to my current favorite camera, the Panasonic S5 I would describe the S5 in a single word as frustrating. The S5 is so close to being perfect, yet the AF finally pushed me back to Canon. Since I have called it (and continue to call it) quirky, let start there.
Here is my list of things that I just find strange about the camera:
The Mount - the mount is without a doubt the strangest mixture of FF, crop sensor, RF, and EF that I've ever encountered. I bought the 0.71 Canon speed booster so that I can use my EF lenses but with it mounted I cannot use my EF-S lenses. For EF-S lenses I also need to buy the straight through adapter. I have no RF lenses and probably won't have any for years so EF and EF-S is it for me. I would like for the speedbooster to live on the camera so I bolted it on because I like the extra stability, but that means I can't use the Sigma EF-S at all unless I want to either leave the speedbooster unbolted or or fiddle with removing it while on set.  Speedbooster - Yes, the speedbooster gives you a stop of light with EF glass, but the DOF remains the original DOF. Additionally, I saw some sample videos where the speedbooster decreases contrast and saturation in strongly backlit scenarios due to the extra glass elements, it also decreases the AF area for EF lenses. Not sure if this is also the case for EF-S lenses. It is great for providing a FF FOV, but it still falls into the quirky category for me. Storage - this one hit me before the camera ever arrived. I planned on buying 1TB SD cards due to the data rates but discovered that there is no such thing for V90 cards. In fact, the largest V90 cards I could find were 256GB which means now I have to worry about running out of space; something I haven't even thought about for years. Speaking of V90 cards, they are actually crazy expensive when compared to the typical V30 cards. So now I have a camera that can go up to Canon RAW yet no way to store the footage in the camera. I know I could use an external recorder, but I like the dual slot redundancy and the compactness of doing everything in body. Even V60 512GB SD cards are nowhere to be found. Such a strange problem to have in 2022. Lens IS + Digital IS - The C70 does not let you turn off lens IS and keep the digital IS on, no idea why but I discovered that during my brief testing. I wanted to test the difference in lens IS vs digital IS with the same lens but you can't have digital IS on and lens IS off. OK, so here for me is what I find is just bad about the camera so far. Once again, this is due to my own personal workflow and my shooting style, for bigger crews and different shooting environments this may or may not be something you care about at all.
Firmware Bug - Yep, within 20min of turning it on I found what I believe is a firmware bug and I currently have a Canon CPS case open for it. I shoot a lot of content that goes on both YT (16:9) and IG (4:5), so instead of shooting vertical which would mean it would only work on social media, I shoot landscape and display 4:5 aspect ratio guides on screen so that I know what would fit perfectly on IG. My customers love this, I deliver them two versions of the video and both fit perfectly on their respective platforms. I set this up on the S5 and I checked before buying the C70 that it had the capability to configure custom aspect guides as well. So while setting up the C70 I went into the aspect guide menu > custom > and started inputting my guide ratio. What I found out is that there is a bug and you can only change the left side of the guide. So I can set up 2:1, or 4:1 but there is no way to change the 1 on the right side. I called CPS and they couldn't figure it out either, so they opened a case for me. Fortunately, I have been using the guides with the S5 for so long that I kind of know from memory how to frame 4:5 within 16:9 but it is very annoying to say the least for this not to work.  Flip Screen Quality - This is a real thing, terrible quality, very flimsy and the worst physical part of the camera. I can only hope it does not break and if it does I hope it breaks when I don't have a job lined up and while it is still under warranty. I avoided flip screens for years because I thought they would be flimsy, my first camera with a flip screen was the GH5 and now in 2022 Canon found a way to confirm my worst fears about flimsy flip screens. By comparison the R6, S5, and GH5 all had great high quality flip screens. Stabilization - this is a big one and anyone who knows me knew this was coming and I know cinema cameras do not have IBIS, I knew the C70 did not have it before buying it, but it is still a downside in my book for this camera. It's one thing to not have it for cameras that are too big to hand hold, but when you market a cinema camera as being handheld and give it a DSLR form factor IBIS would be great.  I will say that I never knew how good lens stabilization was until I shot with the C70, if you have a stabilized lens and turn off the Digital IS it is almost as stable as IBIS. When it comes to digital IS, I simply do not trust it and feel like it makes the footage jittery so I only use if I don't have a stabilized lens on the camera. Speaking of stabilized lenses, I discovered my favorite video lens (Sigma ART F1.4 50mm) does not have lens IS which makes the S5's IBIS even more impressive in my book. I had no idea that none of the 50mm EF lenses offer stabilization and neither does most Canon EF lenses. So now I am stuck with no IBIS, and only the Canon 24-105mm F4 and the Canon 24mm F2.8 for stabilized lenses options. Horizon Level - Yes I know no Canon cinema camera has this (I think the C500 does but not sure), but it is still really annoying to have to keep checking the edges of my screen and guides to try to keep the camera level. It is easy when it is on a tripod and there's plenty around to line up with, but when you are hand holding it is one more thing to try to guess at. I use the horizon level religiously with every other camera. I would think this might be able to be added via firmware, I'm guessing it has a gyro since it provides digital stabilization but not certain of this. Flip Screen Visibility - The flip screen looks great indoors but completely disappears outdoors, no possible way to see much more than an outline of what you are shooting even with a monitoring LUT enabled. This means an external monitor is almost required and for gimbal work you pretty much just have to hope you are pointed in the right direction. Indoors it is great. The Fan - I know, I know, it is required to keep it cool...but I live in FL (where everything overheats so the fan is even more important lol), but living in FL I also shoot a lot on beaches with the wind blowing and sand going everywhere. That fan is my worst nightmare in that scenario. I really don't know yet what I am going to do for those shoots, I may just use the S5 whenever a dusty or sandy environment like that is required.  The Joystick - the joystick is nearly impossible to use. You can navigate left/right/up/down ok, but if you try to press it to select a menu item it typically jumps to a different screen, very hard to precisely press it. I started using the Set button in the thumbwheel instead to select menu options. It is not all bad, and I will say up front that I do not regret my purchase (not yet), so for me (so far) the good outweighs the bad:
Internal ND Filters - those glorious internal ND filters make me smile every time I press the button. I almost like them more than I like the sensor and image quality. Being able to dial in an exposure with the press of a few buttons is nothing short of awesome. Gimbal Balancing - I watched a ton of YT videos and bought counterweights and a clamp for my Ronin S because I didn't think it would balance otherwise. Well, it turns out that with my gimbal lens (Canon EF 24mm F2.8) it balances with no problems. The arms are at their outer limits, but it does balance properly. I was able to balance the Sigma EF 50mm as well but not properly and the motors had to engage just to keep the horizon level...not a good situation. Sensor - This one is a given, all of the spec charts and YT videos in the world can't compare to just shooting with the camera with your style of shooting. The sensor is more than sufficient for everything I need do and I tested right away a model backlit by direct sunlight and the image was good enough for me. It did wash out a bit but it wasn't as bad as I thought it would be. CODEC - Yesterday I shot mostly 30FPS and 60FPS and the XF-AVC codec was actually easier to edit than the H.265 footage coming out of my S5. I wasn't sure if I was going to be able to edit it and Davinci Resolve along with my editing setup handles it with no problem. Ironically the hardest footage to edit on my system is GoPro footage. Ecosystem - This one is important to me and since I have a lot of Canon glass and XLR audio equipment it was important that it fit into my existing ecosystem. I picked up a shotgun mini XLR mic for on camera work, a cage, a DTAP to C70 power cable, the speedbooster, v90 cards, and that was it. It fit perfectly into the rest of my gear.  Integrated XLR Audio - Obviously this is great to have, no more finicky adapters to deal with. The mini-XLR jack isn't that big of a deal to me, my new on camera mic is mini-XLR, and I bought adapter cables for the rest of my equipment.  Build Quality - I was actually expecting worse build quality than it has after seeing so many people complain about it. It's not great, it definitely is not as nice as my S5, GH5, C200, or 5DIV, but for what you get I think its not bad. The buttons feel a bit cheap when you press them but as long as they work I don't really care. Auto-Focus - having AF is just wonderful....ANY AF is better than NONE, and this will be the first video camera I have owned that I can somewhat handhold and have AF at the same time. I know everyone is saying it is not that good, but to me it is great. I just set it to large area AF and kept the box on the subject and it did the rest. I already know in lowlight it won't work well or with certain skin tones but the focus peaking is so good that I am actually looking forward to MF for those situations. Exposure Tools - Obviously there are a ton of them, I thought I had my setup all figured out but during the shoot I ended up just using the WFM because it was the only thing I could see in the sunlight and it worked well. Battery Life - The battery life is decent, 1.5hrs shows on the meter when I first turn on the camera. With the DTAP to C70 cable I can connect the camera to my VMOUNT battery which can probably power it for at least 4hrs. OTHER CAMERAS
   Before buying the C70, I did a lot of research and comparisons to other cameras that I felt could meet my needs, the list below is arranged from closest to furthest for how close they came to what I was looking for:
Canon R5C - This was the number 1 contender, but for me there were too many compromises. No internal ND filters, adapter required for XLR audio (the adapter BTW that even further shortened the already terrible battery life), the weird USB PD power requirements, the terrible battery life, and no IBIS ruined this one for me. If it had IBIS or an eND filter system I probably would have picked it over the C70. Canon R3 - Interesting camera but no ND filters, would need the adapter for XLR audio (adding to the price), no video exposure tools, no good codecs, and cost a ton of money for that fast readout sensor that I would never need since I don't shoot sports.  Canon R5 - No XLR inputs, no ND filters, no video tools, terrible codecs, and that horrible overheating issue that just won't go away after all the firmware updates eliminated this one from my list. Panasonic - All of their cameras have no useable AF, so as much as I love my S5 in every other way, there's no way I am buying another one unless their AF system changes. Sony - that's a whole different world for me and different ecosystem which doesn't interest me at all. Nikon - looked interesting but I know nothing about Nikon and feel like they are one foot from the grave (kind of like Panasonic for that matter). I am sure they make good cameras but I don't feel like learning their ecosystem, also I would have been paying for that sensor and XLR adapter similar to the R3. FIRST SHOOT EXPERIENCE
    My first shoot was almost comically bad. I got the camera late on Friday, went through all of the menus and watched YouTube C70 setup videos until 3AM, then got up and did my first paying shoot with it at 10AM. Also, the cage did not come on time so I really felt out of place hand holding it without a cage or side handles and nowhere to mount a top handle or mic.
     I thought I had figured everything out....I was going to use the Zebras at 45% to expose the skin tones, use digital IS for the 50mm, and use only lens IS with the 24-105mm.  I set up my favorites menu with AF mode, Zebras on/off, and framerate. I also balanced it on the Ronin S with the 24mm F2.8. As soon as the shoot started I realized the zebras were impossible to see in the sunlight, I forgot to turn on digital IS when switching to the 50mm, and without the zebras I had no idea if I was exposing properly. So I switched to the WFM, gave up on the skin tones, and kept it in the middle of the WFM. 
    After the shoot I checked out the handheld and gimbal footage and it wasn't as bad as I thought. I ended up throwing away much less shaky footage than a typical S5 shoot where I have to throw away out of focus footage.  The subject for this shoot moved around quite a bit and my S5 keeper footage rate would have been way lower.
     I also ended up buying the Buttery C70 LUT pack to get the initial grade. Sound It Out Films did a great YT review on LUTS and the Buttery one looked like it had the best starting point for the Rec.709 grade. I do not like their creative LUTS though because they added them into the Rec.709 grade vs separating them so you can't use them for all of your footage from different cameras from a shoot. But their Rec.709 primary grade is the best looking to me.
LEARNING EXPERIENCE
   I still really need to learn how to properly expose CLOG2 with the C70. I think I did OK on my first shoot, my false color LUT shows me that for the most part I was able to get the exposure where it needed to be, but I definitely need more experience with CLOG2. The totally confusing area for me is the AF, I watched tons of YT videos but the whole area AF with subject tracking turned on confuses me. When whole area AF is on and subject tracking is on, boxes are flying all over the screen, it seems to be tracking things even though I did not tap the screen so I am not sure if it is just showing me what it decides should be in focus or if it is actively tracking something. I also don't really understand the logic behind whole area AF, how it works and when it breaks so I need to test that feature a lot more.
WRAP-UP
   For my needs the C70 is a great "quirky" camera that I think was worth it. I hope to get at least 5yrs of use out of it, but TBH with you my main concern now is how to get V90 cards big enough to store long form content. I don't see 256GB cards lasting through an 8hr day. I may actually test V30 cards at its lowest bitrate settings or even 2K @ 30FPS for long form talking head content. An annoying problem to have in 2022 and out of all of my problems with this camera, that's one I never saw coming. So far it definitely seems like it was worth it, but time will tell. I still don't think it can replace my S5, when I need to travel light, work in dusty environments, or I'm on a shoot with a budget that just isn't high enough to bring the C70, I will probably still use the S5.

Also, I can't help but imagine how successful Panasonic would have been if they just made a gh5s with IBIS a few years ago.

With regard to the Tokina 11-16mm, I'd left it out because, whilst not massive, it's still a bit of a lump if you are looking for something compact.
I've done this quick comparison shot* of it next to the Canon 10-18mm and although there doesn't look to be too much difference its significantly heavier and the 77mm thread will add to the cost of ND filters etc.

What you will get back in return for that extra size and weight though is a great lens that I don't think anyone has ever regretted buying.  I've got it in both Nikon and Canon mounts and I haven't found them particularly wanting against my Nikon 14-24mm f2.8 and Canon 16-35mm f2.8 lenses (albeit they can't be used on FF).
On the other hand, the Canon 10-18 can't compare with it in terms of speed (or handling when it comes to manual focus) but in its favour it adds a bit more range on either end, the stabilisation and the sort of weight that makes it a negligible addition to have in your bag.
The obvious answer is to buy both 🙂
 
 
 
 
* For the benefit of @mercer, the shot was taken on a Sigma Fp with a Mamiya 35mm 645 lens on the Baveyes Medium Format speedbooster 😉
 

Sigma 14mm f4 APS-C Lens *

* Fixed lens on the Sigma DP0. 
Shot in 65x24 AR on the DP0 and posted as an FYI for anyone interested in doing Hasselblad XPan style stuff without dropping £4K 😉 
 

Both ends of the 10.9-34mm f1.7-2.8 lens of the Panasonic LX100 (4K/24p video grabs)

Voigtlander 15mm f4.5 VM III on a Sigma FP 
 

I see it becoming an established style, especially on social media. And real films will have to mimic it to get the authentic feel of that when needed by the script.
Sure will be interesting to play with and see how it develops but for now it is 99% a TikTok thing to raise the production values of short social media measured in seconds.
I am impressed that Apple managed to put ProRes codec into a phone as well.
What is stopping the camera companies now exactly with their hardware and lack of internal ProRes. Just outdated chips or what?

Just bought a GX85.
It's purpose is to serve double-duty, as an inoffensive little camera that I can stealthily take anywhere, and as a 2nd / backup cam for travels.
Travel is one of my great pleasures, and if COVID has taught me anything, it's that I need to get better at travel near home.  This has resulted in my Go Shoot project, which essentially involves trying to have small, low-zero cost adventures close to home, and to film them as little videos to try things and make memories.  The key thing for this kind of thing is having a small unassuming camera that doesn't attract attention.  I've been using my GF3, due to its tiny size, but its lack of tilting screen or stabilisation are rather inconvenient and it 17Mbps 1080p is a little lacklustre to say the least.
These projects are about story first and image second, and are finished on a 1080p timeline.  This means that if I take the 100Mbps 4K image and crop 2x then it becomes a 1080p at 25Mbps image, which is still acceptable (and still better than the GF3!) so that means that the GX85 and 14mm f2.5 combo would be tiny, but with the 2.2x crop factor in 4K and cropping in post, would be 31-62mm equivalent, and the f2.5 combined with the downscaling in post should mean it'd have reasonable low-light ability too.
GX85 with 14mm f2.5 for a tiny setup:

If I want to work quickly and have a more doc-style of shooting, I can pair it with the 12-35/2.8 and get 26-154mm.  In extreme low-light (like caves), I can take the Voigtlander 17.5/0.95 and get 39-78mm.  If I want to go vintage, I can use the Cosmicar 12.5/1.9 for a 28-56mm range.  Lots of cool options available.
Once we get back to travel, which is likely to happen later here in Australia than elsewhere in the world it seems, I'll also use it for a 2nd / backup camera to my GH5.  I find that often I will be on a balcony or terrace in golden hour (either dawn or dusk) looking at a spectacular view and wanting to record three things simultaneously:
Time-lapse of the whole scene as the light changes - super wide-angle and deep DoF
This will be my action camera, which by taking 8MP (in 16:9) Jpegs, which are around 3Mb each, gives about 600Mbps when put onto a timeline at 25fps.  Not bad! Time-lapse of part of the scene - variable focal length required
This will be what the GX85 will do, and can use any of the MFT lenses I have. Video of interesting things happening, probably with a wide-angle lens
This is what the GH5 will be being used for.  People walking, boats sailing, flags waving, etc etc.   The GX85, by being able to share any of the lenses I have for the GH5, also makes a great backup camera in the instance that the GH5 is out of action.
Is anyone else using a GX85?  or small camera to fly under the radar?

After a long year, I've spent the first couple weeks of 2021 reevaluating my gear and what I really need for 2021. In the process, I decided to revisit some of the inexpensive lenses in my collection.
I have some plans going forward which involves a slate of micro short films. I'd like the productions to be as bare bones as possible using humble equipment.
Luckily, I was able to get out and shoot some test shots for an upcoming thriller/mystery short entitled "Under the Boardwalk" I brought the Takumar 50mm 1.4 and an old Nikkor 50mm 1.4. Here are the results of my test...
Takumar 50mm 1.4
Nikkor 50mm 1.4
It's been a lot of fun testing out some old lenses and I must say I love the old Nikkor more than some lenses I paid 10 times more for. Are there any old, cheap lenses that you guys love more than the generic modern lenses a lot of people use?

No, I've fired a similar number of shots in the past 10 months as the Swiss navy have.