SlanderShot

I'm not expecting one and quite frankly, I'm not bothered even if there is another or not.
If anything, I wouldn't kick a further video AF update, but otherwise is what it is.

...I'd be "in" with that, as long as it records with audio, too! :)

So now that the S1 is closer to the S1H, as a S1H user i'm wondering what kind of major update we're expecting to highlight a real difference between S1 and S1H ?
I'd go with something like: 4k@120 fps, probably only in 420 8bits internal and 422 10 bits external.

Yeah, looks like Tech.
V-Tech to be precise

Here my last work about my travel in Japan in march 2018.
Shot with 5DIII RAW 14bits lossless 1920x1080 29fps
EF 24 70mm 2.8
Grade on DR14 + Film Convert / edit on PP CC 2018
 

Here my last work about my travel in Japan in march 2018.
Shot with 5DIII RAW 14bits lossless 1920x1080 29fps
EF 24 70mm 2.8
Grade on DR14 + Film Convert / edit on PP CC 2018
 

Here my last work about my travel in Japan in march 2018.
Shot with 5DIII RAW 14bits lossless 1920x1080 29fps
EF 24 70mm 2.8
Grade on DR14 + Film Convert / edit on PP CC 2018
 

Everyone has different experiences. I really disliked the Mac interface when I tried it years ago. Windows gives me no problems. 

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film.
I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good.
Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).
 

Finally got around to editing some clips together.
 
 

Thanks you @mercer and @Hanriverprod. I get the good resolution for framing, but it's a mix and grayscale and colored preview (still not easy with this preview and hope the ML team will find something more comfy). I don't tried yet hdmi monitoring.

Here a small test :
3009 x 1280@24p (upscale to 4k) + 14 bits lossless = continuous shooting.
I used the new ML Cinelog-C to Ektar 100 LANDSCAPE lut of @hyalinejim
Graded in Davinci Resolve 12.5, edited in Premiere.
 
 

Thanks you @mercer and @Hanriverprod. I get the good resolution for framing, but it's a mix and grayscale and colored preview (still not easy with this preview and hope the ML team will find something more comfy). I don't tried yet hdmi monitoring.

Here a small test :
3009 x 1280@24p (upscale to 4k) + 14 bits lossless = continuous shooting.
I used the new ML Cinelog-C to Ektar 100 LANDSCAPE lut of @hyalinejim
Graded in Davinci Resolve 12.5, edited in Premiere.
 
 

Here a small test :
3009 x 1280@24p (upscale to 4k) + 14 bits lossless = continuous shooting.
I used the new ML Cinelog-C to Ektar 100 LANDSCAPE lut of @hyalinejim
Graded in Davinci Resolve 12.5, edited in Premiere.
 
 

Here a small test :
3009 x 1280@24p (upscale to 4k) + 14 bits lossless = continuous shooting.
I used the new ML Cinelog-C to Ektar 100 LANDSCAPE lut of @hyalinejim
Graded in Davinci Resolve 12.5, edited in Premiere.
 
 

Here a small test :
3009 x 1280@24p (upscale to 4k) + 14 bits lossless = continuous shooting.
I used the new ML Cinelog-C to Ektar 100 LANDSCAPE lut of @hyalinejim
Graded in Davinci Resolve 12.5, edited in Premiere.
 
 

Here a small test :
3009 x 1280@24p (upscale to 4k) + 14 bits lossless = continuous shooting.
I used the new ML Cinelog-C to Ektar 100 LANDSCAPE lut of @hyalinejim
Graded in Davinci Resolve 12.5, edited in Premiere.
 
 

What. 
Im curious to see your raw footage without ETTR or Zone System. 
Everyone know that the sensor need the best exposition in RAW use, or else we get noisy low light revovery. 

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

Color grading is supposed to be an art-form...  not an equation. Grade to suite your story. To that point, everything that is done in the creation is there to support the story. From color grading, camera angles/movement, lens selection, background music, lighting, costume to selection of location and talent. All of it. Story telling is not science it is art. When your choices fail to support the story, that is when you fail as a filmmaker. I can say while many choose to grade these scenes as light hearted, and technically correct (read boring) I as did other choose to see them as a canvas to make something much more stylized (read interesting). I would be curious to see other attempts at grading these scenes for different genres: "SciFi", "Horror", "Drama". Because believe me they can't all look exactly the same. 
 

Stop lamenting. Learn the scopes and then take pride in lecturing us all!
First of, it has good colors for sure. That's not what we are here for, we are testing. If anybody wants a perfectly fine neutral basic grade he should better buy a PMW300 or something like that and stop worrying (and grading). You mix up color correction and grading. And secondly, there clearly are some stylistic choices in Neumanns original Beyond The Grid clip, as we can tell by a closer look at the few shots he let us to play with. So, no, André, you are wrong. It's not perfectly neutral.
Where is the dislike-button?
True, sadly. It certainly isn't the easiest thing ever.
I advise all here to brace themselves against any harsh and arrogant critic. And not to trust any perfect stranger who tells you it's you're just using the wrong software. Maybe wolf33d is a talented colourist. Good for him. Are we here to brag about our talents or to learn something?