webrunner5

Yeah that is a Fujinon ENG 2/3" f1.8 19x 8.7-165mm lens with a 2x built in doubler in it. They are refered to as a B4 lens. And it does cover a M4/3 sensor with the doubler engaged.
So you end up on a M4/3 camera with figuring in the 2x doubler on the lens and the 2x crop factor of M/4/3 lenses, it is about a constant F3.6 parafocal 35.7mm- 660mm. And I payed $150.00 for it. So they a pretty impossible to beat. That lens cost over $10,000.00 when it was new 20 years ago!
And they have a built in zoom servo on them, and has Macro focusing too boot!

I had a mate that used to write for a camera mag. Panasonic used to take them hither and thither and wine & dine them.  I'm sure they would've got corporate blowjobs if it was de rigueur.  I'm pretty sure that journalists would need to declare such things, but blog writers?  Youtubers?  Keep doing what you do Andrew, its extremely rare and refreshing. ANd the od add or affiliate link on here would not phase me in the least.  
BTW same mate applied for a writer's job at DPREVIEW. He was editor of a camera mag. The job in question was unpaid.  Unpaid! Classy.

Yeah, everyone can list specs and provide news. Big whoppin' deal. The whole internet is slowly turning into CNET Buzzfeed TMZ type crap places just to want your quick click and cash in. Well. At some point you just don't feel like coming back there anymore. Not going to waste my time with that. If I want specs I'll go to the manufacturer's site. I don't need some endorsement from a flippin' hand puppet. I appreciate uncensored unbiased opinions from people who actually break down strengths and weaknesses of something and doesn't sugarcoat it when something's not all that great. I do end up buying a lot of stuff, just to see for myself, not only because people have their own agendas, but they also just have other priorities, wishes and needs and might draw different conclusions based on that. That's still the best way to get some insight, not by reading news articles and stuff, but just by using it yourself. Unfortunately that's not always possible, so it is of utmost importance that there are still a few honest places left where people dare to share their actual experiences. I appreciate what Andrew is doing for the EOSHD community, I also always take into consideration what Chris and Jordan from TheCameraStoreTV and Mathieu at MirrorLessons have to say for example, as I feel there's a great dose of objectivity involved whenever they talk about a certain piece of gear looking at both up- and downsides of something.

A bit clearer! iPhone picture not in the best of circumstances.

If you get a cage, I would get a lens support as well to take some of the stress off the mounts. 
But... if you're gonna go and do all that... you may want to consider selling the GX80 and getting the G85.

When I worked for them I had my suspicions they would try and suppress the strident tone of my reviews when it came to Canon's shortcomings in video.
Now it's plain for all to see what is going on there -
https://***URL removed***/articles/9717214609/filmmaker-scott-dw-trades-his-pro-video-gear-for-canon-eos-80d-watch-the-results
I will be sure to get my fix of Canon PR marketing there from now on and of Ebrahim's latest forum frauds.

In that case, I'm afraid Sony lenses won't do... though there are focus-by-wire lenses that almost replicate mechanical behaviour, most of them are awful in that regard -the 28-135 f4 PZ is sooo horrible!!!-. I haven't tried it myself but I understand the new 18-110 f4 has a great manual focus feel, it's a pity the lens itself is big, expensive and slow making it as unattractive as it gets.
The 16mm f2.8 is ok as a gimbal lens, decent enough autofocus and minimal footprint (it's a pancake lens).
Other than that, I stick to adapted lenses for the FS7 and FS5, mostly Zeiss CP with a PL adapter -controlled shoots- and Canon zooms with metabones speedboosters.

I agree, no way you can beat a Sony F3 if you don't need 4k. Although not as good of Codec, the Canon C100 now, with its sub 2k cost is sort of tempting also especially with the DP AF upgrade in one. Great run and Gun camera also. 8bit out but..

I use this method I found on Resovle and I like the look. Covers up a Lot of mistakes! https://davidtorcivia.com/film-grain-and-davinci-resolve/

I agree. The grading is just to die for in those shots. That is what we all strive to get, as least I do. Well done!

The pocket's candence, and blackmagic cameras in general, is far better than other systems within their price-range, but still not to the degree in which it feels truly cinematic, to my eye at least - though for the price, you can't really expect this either. I was on a shoot the other week in which shot w/ 2 x Amira's and a pocket as a C cam. I actually pulled the footage into post to compare candence between the two, amongst other characteristics. The pocket holds up really, really well to the Amira, as we've come to expect, but the difference in motion was there, and noticeable. 
8-bit C-log is indeed nice, but as you point out yourself, best to have 10-bit plus and be covered, for either a more intense look, or encase anything goes wrong in-camera. 
Your last paragraph sums up my current thoughts nicely. The plan is to spend the next few months mulling over a decision, especially with all this feedback now behind me. 
Sure - here's a selection of stills from the last narrative piece I shot w/ the pocket back in March, and here's my Instagram for further examples (though I don't update this as regularly as I perhaps should) https://www.instagram.com/martinmcgreal/

I could never debate that camera is more important than story, but if it wasn't important, we'd be out the job. Anyway, a debate for another day this, shall we say .. 

It sounds like you may need some Mark iii ML Raw or a 2.5K BMCC... which are so cheap used now I am questioning why I am going to spend about the same for a new BMPCC...

Well, we all know it will be cleaner than GH4, as we see with the G85.

No that is definitely not true. 10bits per channel offer a much denser space that can improve color reproduction and tonal differences while getting rid of artifacts like banding. Especially v-log with its ~12bits stops of dynamic range will benefit tremendously with the 10bit internal codec. 
Look at BM cameras for example, much less dynamic range in many of their cameras but amazing colors & tonalities. 
Here is an illustration of V-log with 10 & 8 bits:
http://www.provideocoalition.com/v-log-l-gh4-revisited-part-2/ Part 1 is also worth looking at. 

Just shoot both in LOG mode and apply the same LUT to both, then tweak any differences.
But here's an even better suggestion... if you want cameras to match, buy two of the same cameras.
The main problem here is it it seems like you have been convinced by online marketing and advertorial that you need all this extra shit.
On the GH4 you don't need a v-mount battery for interviews...
Unless you consider changing the GH4's battery every 7 hours to be an unsurmountable problem.
You also don't need a cage or to attach anything to the GH4 at all, like a shotgun mic.
For interviews you should click a wireless lav mic onto the subject. Not use a mic on the camera.
XLR is also overkill for an interview. 3.5mm jack just fine.
Problem solved.
You also don't need a monitor... the screen on the GH4 is just fine for interviews. Works as well as the screen which comes with the FS5, does it not? It's even a similar size! Guess that solves the cables part as well.
Speed Booster - I fail to see the hassle aspect of that. Attach lens. Film!
ND filters - for an interview? Were you filming it on the surface of the sun?
With such a small amount of movement if it is a locked down shot you wouldn't even notice if it was shot at 1/2000 anyway.
Keep it simple.
Keep it simple and try again.
Relax.
Don't buy a C300.

Preorder 4 months before delivery?

do you mean 16mm? - just confused, but if that's what you meant, you can speedboost it to help that (as well as low light)
 
also, a few things
your top requirements are now the most subjective (cadence, good color, softishness)
I was pretty sure the pocket was supposed to have some of the best cadence. you can add the 1dc to the best cadence list for sure by the way.
the f3 was the camera Ed used on his film Five Star. all handheld style filming, great test of cadence. maybe "not perfect", but "better than some" could even be an understatement
maybe make sure you're comparing to the kings in the cadence arena too (f65, alexa, film) and that you're not just now discovering a problem with your display or noticing 24fps as a problem or something, because of suuuper intense pixel peeping
I'm confused how you like graded 8-bit c-log you're seeing, but you're concerned about how well it holds up to grading (your looks may be more intense I suppose, or just in case there's a problem shooting you can correct it - but 1dc/c300 footage doesn't look too thin or artifact filled at all).
also, I assume you have experience with the anamorphic lenses in question, but that glass has potential to both make sharp 4k more cinematic (especially opposed to online tests using L-series lenses or god knows what) - and not be a problem for good 1080p to cover.
probably all of your options and more have been suggested though. it's okay to have opinions and be picky here, it's a big purchase. but maybe the only thing you can do now is mull on it. remember the audience could be amazed by just about any of those suggested and/or not notice the difference (not that you shouldn't fall in love with the camera, but if you hate all of them.. that's too far the other way)

My overall personal experience after having a Bmpcc , GH4, a7s + recorder and some production with them are that ... I m done with dslr style camera .
Either the codec or the battery or the colors are issues (or rolling shutter ect)...
 
So I decided to move to something more professional and also considered a red one , a kinefinity terra and a Ursa mini
( I m doing creative work so I need a bit of slow mo, so no canon)
 
At the end of the day I went with the ursa mini 4.6k .
The red one is just too heavy, won t have warranty and the accessories are not transferable with the more modern red cameras,  it s fine if you have small crew around you , but as the solo operator it s too hard to manage IMO ( and no 4k 60fps ) But the image is great and the workflow too.
I actually pre ordered the terra 5k, but canceled it after so many delays, also one of my a7s died on shooting and made me realize how important it is to be able to send your camera for repair easily, with Kinefinity you have to send your camera back to china ...so also a no go.
 
 
Red mx brains (either scarlet or epic ) prices are dropping but the accessories are still quite expensive .
 


 

I know. Terrible...

You could get TWO of *both* and still probably manage to squeak in under budget!

Exactly. Its truly an amazing camera when used primarily for stills, offering decent video as well.
But just for video? not a great value.  Maybe when a  proper log arrives with a firmware update will make it easier to swallow that price tag. 

the old way was to put your grain on a video layer above the clip and set its blend or composite mode to "overlay" and then to use a contrast filter on the grain layer to dial in the intensity. 

The only true conclusion I've been able to make so far from this discussion is that the pocket camera really is a phenomenal piece of kit for the price. I'm searching in a market for systems five or six times the price of the pocket, yet have failed to find anything that is a substantial improvement upon it, with regards to either specs or usability. Essentially, all I want is a system with the pocket's specs, 4K, a more softer digital looking image (one could argue this can be achieved through choice of glass), and something that isn't ridiculous huge. Yet for an extra few thousands of pounds, this can't be found .. Extremely disappointing, as it is frustrating .. Do appreciate all the comments so far though - great that so many of you guys are contributing, despite the lack of progress in terms of a conclusion .. We'll get there! 
Regarding the 1DC - I love the image as much as I do the C100ii, but spending thousands of pounds for an image that falls apart under any substantial grading is a deal-breaker .. It hurts me to say that, since I do love the depth/colour to Canon's image, but I can't suger-coat 8-bit when there's thousands of pounds at stake .. I agree though, I have to make a compromise somewhere - I'd just father it be a spec less influential than colour bit .. 
What I do have on my side is time .. I'm in no rush to make a purchase, and who knows, come March/April when I do make the decision, there could be a system that ticks all my boxes, or a price-drop for a system that currently does. If the GH5 has impressive low-light, I'll probably just settle with that, and invest everything else in some beautiful glass .. What's the verdict on Panasonic's colour science? 

You should reconsider the ursa mini you can get a second hand one for cheaper , get faster glass or some extra light with the money saved.

A red mx won t be better in low light, and other than a F55/F65, sony colors....sucks period , panasonic is barely better outside of the varicam range.

Personally I  find external recorders to be a pain to use . More battery to carry , more potential issues , ect....

A ursa mini will be all in one .

Price dropped to 599 GBP! Seriously Mate, bargain.
 
Also, reposting the music video I shot recently: