Charlie

Yes it works. It seems to play faaaar smoother than the mp4 files as well. STRANGELY better in fact. Still a loud click on the end of files. Still 8 audio free frames at the start of each clip but now no gap at the end of clips. 
https://www.vegascreativesoftware.info/us/forum/gh5-4k-24-30p-problem--105152/#ca658569
I used ninite.com to download the 7z unzipper. It's easier that way and don't risk adware. 
Have put all the instructions into a pdf here. It rewraps the files, not transcode so it's very fast. 
GH5 10 bit fix.pdf

Log (with at least 10-bits) provides more creative options, so if you want the most creativity shoot log. Once you learn the tools you'll find you can quickly get a standard look (your standard- for which you can create a preset, etc., so one click and you are done). And if you want to do something wild and/or unrealistic for emotional effect, you can do that too. It's important to use the correct input LUT to get your flavor of LOG and color space into the correct format back to linear gamma and Rec709 color space. In some cases you can get an acceptable look by just using curves and saturation (I can do this with Canon Log 2 and Cinema Gamut with Production Matrix, for example, though I typically use the ARRI input LUTs for speed).
I've purchased a few creative LUT packs, including FilmConvert (plugin which does more than a simple LUT) and I almost never use creative LUTs. Ultimately I just dial in the look I want with Lumetri in PP CC vs. scrolling though 100's of LUTs looking for something that will work.
If you want to focus on just the creative part of shooting and skip the extra post work, there's nothing wrong with shooting with baked in gamma and color. It will simply limit your creative options in post, and will save you time on the plus side.

Yeah, I'm in the Murcia region and its slim pickings here too but I have to go to Alicante tomorrow so thought I might have some luck.
Mind you, I could stay around for the other stuff you mentioned there!

I think in a lot of the heavily graded films you cite, the skin tones are kept to an acceptable color while every other color goes nuts. That's the real talent of a world-class colorist. 

No, I think that you're pretty much spot on and its a conclusion I've been coming to myself recently.
I've just done a side by side comparison with log on the Fuji X-T2 and one of their inbuilt colour profiles and with a lot of fiddling I can get the log to look, erm, exactly like the inbuilt profile.
Which shows that Fuji know far more about this stuff than I do and that I should just stick with considering their sensor to be a film stock and working with it instead of around it.
Its a damn sight quicker and less render intensive too.
As a complete aside, you don't by any chance know where I could source a charger for Sony NP970 type batteries in Alicante do you?

+1 Jon!...just tell the bride & groom that you did not get their shots because your one perfect camera that can shoot in pitch black, but started overheating after 3 min had to be turned off for 10 min at a time, and you have a disaster on your hands that I personally would not want to be around for....and the emphasis is on "a once in a lifetime event"...no bring everybody back the next day for a reshoot...only sane way is with back ups for your back ups!

If you're shooting in V Log definitely shoot 10bit. 8 bit is (generally) enough for (small gamut) display, but if you plan to grade or do any vfx, 10 bit capture can make a big difference because you'll be stretching the image before it's displayed. If you don't plan to grade the footage at all or color correct at all, 8 bit is fine, but that means limiting yourself to not even fixing the exposure. Given the option, I'd choose 10 bit every time (and I wouldn't choose 4k or RAW most of the time, so in terms of priority it's pretty high).
8 bit is the minimum that works as a display standard, but the capture standard must be bigger. Film has 14+ stops of dynamic range. Most images use 8-10 of them at most. Capture and display are different things. 
I hear the GH5 is amazing! Hope it goes well either way. If you're not shooting log, either should be good but I would still shoot 10 bit.
Fwiw, I work on 8 bit displays often but 99% of the time I render in 16 bit and the majority of the footage I work with is 10 bit or more color. The display is your limiting factor only after grading... in the grade, you will see far more detail in the 10 bit image as soon as you make an adjustment or introduce a transform LUT. Even on an 8 bit display.

It's basically adding lots of saturation, then contrast using curves (find a proper black value using the waveform!), shifting the hues (bright green a bit to yellow, yellow a bit to orange, orange slightly to red, red a bit to magenta), desaturating shadows and highlights, desaturating bright oranges (helps for skintones as well), pushing gray or low saturation mid and dark tones (not black though, leave dark skin color the way it is!) to teal a bit, adding a bit of grain.

That's it basically. :D 

No.