seku

just for fun, here's a screenshot from one autumn japan trip, edited in resolve with the workflow i described above

@kidzrevil : yeah, i think Resolve really is worth the "trouble". I recommend googling Juan Melara for getting some grading ideas and to get your mind blown.
btw, if you don't like binning, be sure to try out crop mode. it's the reason why i bought my 16-35mm back in the day. no more binning, just damn sharp 2.5k ... or even 3k 21:9 if you are pushing it. Beware tho that at those resolutions, the buffer might fill up after 6-7 seconds. The footage is gorgeous tho.
 

nice looking stuff
i'm no longer shooting on 5d RAW, but my workflow was rather easy:
1. Mount the MLV files in MLVFS (this mounts a new virtual hard drive where all of your files miraculously transferm into cinemadng in real time)
2. Import the files from the virtual drive into Davinci Resolve. Transform the RAW into linear, then linear to Arri LogC.
3. Cut and grade at leisure.
4. Export as dxnhd or your preferred codec

nice looking stuff
i'm no longer shooting on 5d RAW, but my workflow was rather easy:
1. Mount the MLV files in MLVFS (this mounts a new virtual hard drive where all of your files miraculously transferm into cinemadng in real time)
2. Import the files from the virtual drive into Davinci Resolve. Transform the RAW into linear, then linear to Arri LogC.
3. Cut and grade at leisure.
4. Export as dxnhd or your preferred codec

Well... i was interested in how well the GH5s compares to the GH5, 5dmk3 and the a7r3 in terms of lifted shadows on RAW images... just to see how good the sensors are.
From the recent dpreview, here's a screenshot of the 4 cams at +6 stops ... 
Imho, the raised shadows from the GH5s and the GH5 seem similar. They both beat my old 5dmk3 handily.
But damn, that A7r3 ... that image quality should be forbidden. If only its codec could keep up
 

@maxotics YESSSS!
And here's your profile pic:

I put the Excel file where you, or anyone, can get it, if interested in the code.  It's a freakin' mess.  Lost of old stuff in there, but if you're like me, you just need to poke around to get what bits you want.  The hardest part for me was figuring out how to get the RAW data out as integer values.  Turned out it could be done in a few lines of Python code.
Excel with VBA Download: https://drive.google.com/open?id=1d6-tBeVcbyiVOCXgSRiV2eNe80ipfruR
PYTHON
import rawpy
import numpy
raw = rawpy.imread('D:\\Files2018_Maxotics_Analysis\\RAWExplainDR\\7D_RAW\\DNGs\\M08-2120_DNG_000001\\M08-2120_000520.DNG')
rawdata = raw.raw_image
numpy.savetxt("D:\\Files2018_Maxotics_Analysis\\RAWExplainDR\\7D_RAW\\DataToCSVs\\dng520.csv", rawdata, delimiter=",")

In my ongoing self-appointed role as "LOG gamma" police, I've created a video that shows how RAW is processed into images we use, both for photography and video.  It drives me nuts that people talk about 14+ stops of DR, as if noise, or sensor pixel sensitivity, stays constant from lower to higher values.  After 5 stops, IMHO, noise makes any extra DR recorded by the sensor quite undesirable.   Further, even in 5 stops of DR there is a huge difference between how well cameras record DR even in fairly well exposed image.  That is to say, the GH5S isn't better only because it can record in low light.  It can be better because even at ISO 800 it will get a richer image in the shadows.  However, it is still 8-bit.  It still throws out gobs of sensor data.  Well, enough of that.  Another video to put you to sleep
 

Guys ... please don't confuse those talks about +2stops or +3.5 stops on the GH5s with dynamic range. Those reviewers just say that the GH5s is that much cleaner than the GH5 with ISO pushed. not DR.
As stated multiple times :
Vlog can store 14+ stops. EVA1 stiff.
Vlog-l can store 12 stops. end of it. for GH5 and GH5s.
But there is a difference of usable stops in Vlog-l and stored stops. A few months back i found Wolfcrow's IRE tests on the GH5 quite illuminating. I recommend watching the whole video before debating Vlog-l. And i can fully see the GH5s go deeper, pushing a lot more signal/noise out of the low IRE. (for the GH5, his tests show no image information below 15-20 IRE, valuable detail above 30 IRE). If the GH5s can push deeper, you will get your enhanced DR, but still in the 12 stop envelope.
I am eagerly awaiting his tests.

Guys ... please don't confuse those talks about +2stops or +3.5 stops on the GH5s with dynamic range. Those reviewers just say that the GH5s is that much cleaner than the GH5 with ISO pushed. not DR.
As stated multiple times :
Vlog can store 14+ stops. EVA1 stiff.
Vlog-l can store 12 stops. end of it. for GH5 and GH5s.
But there is a difference of usable stops in Vlog-l and stored stops. A few months back i found Wolfcrow's IRE tests on the GH5 quite illuminating. I recommend watching the whole video before debating Vlog-l. And i can fully see the GH5s go deeper, pushing a lot more signal/noise out of the low IRE. (for the GH5, his tests show no image information below 15-20 IRE, valuable detail above 30 IRE). If the GH5s can push deeper, you will get your enhanced DR, but still in the 12 stop envelope.
I am eagerly awaiting his tests.

mh.... i would love to compare a gh5s clip with the improved highlight rolloff to @Sage's ghalex LUT. also a shadow region comparison would be nice

also remember that 1080p RAW is less than 1080p video in resolution... debayering eats resolution.
But ML RAW's forté lies elsewhere, as we know

also remember that 1080p RAW is less than 1080p video in resolution... debayering eats resolution.
But ML RAW's forté lies elsewhere, as we know

Thinking about the GH5-S. I really think that Panasonic and Sony Semiconductor really do team up beautifully together. With Sony's sensors and scaling engine teamed up with Panasonic's color science and feature marketing boldness, they make the GH5 one sweet camera.
I can only imagine what this "dynamic duo" will come up with in a possible GH5-S. This a combo that really makes the consumers the big winner. The only loser could be Sony Imaging Company!
Anybody that thinks that the GH5's MFT sensor does not compete with Sony's APS-C or full frame models....is lying to themselves.
 

This is getting quite out of hand ... and i fail to see why.
Some people need AF, some don't. Please don't crap on a camera which is awesome just because it doesn't have the one feature you want. Buy a different camera.
Calling ML hacked crap is callous at best. They did a lot for low-budget shooters, including opening up 3k 21:9 RAW on the 5dmk3. I sold mine a few weeks ago, not because of autofocus, but because of lacking exposure tools. I'm grateful to ML, and will continue with them on the truly open Axiom camera.
This is also a hobby to me, i'm a one-man band. Right now i am looking at the GH5 or GH5s which seems like an awesome compromise of picture quality (higher res/non-RAW) and a bag of tools i sorely miss (waveform for correct expo on skintones, highlights, etc). Also vectorscope.
Of course i'm lusting after a C200. It got the RAW i got so used to. Also the exposure tools i want. But this is a pro-cinema cam, which boasts your coveted AF, pro-XLR sound, internal RAW, wonderful color science, high DR, and is good in low light. And i think the price tag is right. Getting such a package under 10 grand at 1.5kg is unheard of. That's the weight of the 1DC!
So the C200 is on my personal shortlist. So is the GH5 and GH5s, and  i can barely wait to hear more on january 8th
 

Having used the C200 for several long run and gun days, I would not call it lightweight! The form factor is nice, but if you're used to DSLR cameras it's significantly heavier, with all the advantages and disadvantages that brings. For me personally, though I love the quality and look of a larger heavier camera, smaller lighter cameras have proven better with my way of working. For that reason I stopped using a Ursa 4.6k and moved to the GH5 as my main camera.
Still miss the Blackmagic image, but the GH5 can get surprisingly close after grading, and I don't miss the pain in my arms, back and wrists!
My dream camera is one the size and weight of the GH5 with the image of the Blackmagic Ursa Mini 4.6k. Here's hoping for Raw in the GH5s...

AF is not that bad at all though I don't use it....I did however play with it to see...the real problem IMO is people want to bypass the skills to operate a camera this complex and essentially want a feature loaded GH5 that acts like a point and shoot....the gimbal issue comes up a lot...the sollution, unless you're Martin Scorsese, making Goodfellas, shoot shorter takes and employ some of the skills steadycam operators have used for years...like locking focus in manual mode, and then maintaining a constant distance from the sublject....or using a lens in the case where this is impossible with a short infinity distance and shooting away...for those complaining about GH5 AF on gimbals, I suggest viewing some steadycam reels on Vimeo or YouTube....and try to imagine the obstacle course the operators are navigating to achieve their incredible results....without AF and a camera setup that weighs between 25 and 45 lbs...in other words, stop blaming the camera and developer your own skills....for run and gun, either learn to focus manually or put up with what it can do, which is not as bad as reported...with AF the skill lies in where you can use it with this camera and where not.

This is getting quite out of hand ... and i fail to see why.
Some people need AF, some don't. Please don't crap on a camera which is awesome just because it doesn't have the one feature you want. Buy a different camera.
Calling ML hacked crap is callous at best. They did a lot for low-budget shooters, including opening up 3k 21:9 RAW on the 5dmk3. I sold mine a few weeks ago, not because of autofocus, but because of lacking exposure tools. I'm grateful to ML, and will continue with them on the truly open Axiom camera.
This is also a hobby to me, i'm a one-man band. Right now i am looking at the GH5 or GH5s which seems like an awesome compromise of picture quality (higher res/non-RAW) and a bag of tools i sorely miss (waveform for correct expo on skintones, highlights, etc). Also vectorscope.
Of course i'm lusting after a C200. It got the RAW i got so used to. Also the exposure tools i want. But this is a pro-cinema cam, which boasts your coveted AF, pro-XLR sound, internal RAW, wonderful color science, high DR, and is good in low light. And i think the price tag is right. Getting such a package under 10 grand at 1.5kg is unheard of. That's the weight of the 1DC!
So the C200 is on my personal shortlist. So is the GH5 and GH5s, and  i can barely wait to hear more on january 8th
 

This is getting quite out of hand ... and i fail to see why.
Some people need AF, some don't. Please don't crap on a camera which is awesome just because it doesn't have the one feature you want. Buy a different camera.
Calling ML hacked crap is callous at best. They did a lot for low-budget shooters, including opening up 3k 21:9 RAW on the 5dmk3. I sold mine a few weeks ago, not because of autofocus, but because of lacking exposure tools. I'm grateful to ML, and will continue with them on the truly open Axiom camera.
This is also a hobby to me, i'm a one-man band. Right now i am looking at the GH5 or GH5s which seems like an awesome compromise of picture quality (higher res/non-RAW) and a bag of tools i sorely miss (waveform for correct expo on skintones, highlights, etc). Also vectorscope.
Of course i'm lusting after a C200. It got the RAW i got so used to. Also the exposure tools i want. But this is a pro-cinema cam, which boasts your coveted AF, pro-XLR sound, internal RAW, wonderful color science, high DR, and is good in low light. And i think the price tag is right. Getting such a package under 10 grand at 1.5kg is unheard of. That's the weight of the 1DC!
So the C200 is on my personal shortlist. So is the GH5 and GH5s, and  i can barely wait to hear more on january 8th
 

This is getting quite out of hand ... and i fail to see why.
Some people need AF, some don't. Please don't crap on a camera which is awesome just because it doesn't have the one feature you want. Buy a different camera.
Calling ML hacked crap is callous at best. They did a lot for low-budget shooters, including opening up 3k 21:9 RAW on the 5dmk3. I sold mine a few weeks ago, not because of autofocus, but because of lacking exposure tools. I'm grateful to ML, and will continue with them on the truly open Axiom camera.
This is also a hobby to me, i'm a one-man band. Right now i am looking at the GH5 or GH5s which seems like an awesome compromise of picture quality (higher res/non-RAW) and a bag of tools i sorely miss (waveform for correct expo on skintones, highlights, etc). Also vectorscope.
Of course i'm lusting after a C200. It got the RAW i got so used to. Also the exposure tools i want. But this is a pro-cinema cam, which boasts your coveted AF, pro-XLR sound, internal RAW, wonderful color science, high DR, and is good in low light. And i think the price tag is right. Getting such a package under 10 grand at 1.5kg is unheard of. That's the weight of the 1DC!
So the C200 is on my personal shortlist. So is the GH5 and GH5s, and  i can barely wait to hear more on january 8th
 

also remember that 1080p RAW is less than 1080p video in resolution... debayering eats resolution.
But ML RAW's forté lies elsewhere, as we know

The internet architecture at the moment as intended by the universities and scientists who created it. There's a lot of commercial interests to change that, so there's a lot of propaganda and mis-information on the internet and on TV, with funding links back to the commercial and anti-net neutrality government interests.
The Trump government will say to you that they're liberating the internet from their control but it's the opposite.
They are allowing creator control over the user.
There's more money in it for them, otherwise they wouldn't bother.
They are going to get that money from you, by bundling the sites you use into a higher priced premium tarrif.
It also allows them to censor sources of information the Government doesn't like or rival services. Just like they do in China.
A network service provider could for instance prioritise their own rival to EOSHD over me. Or even their own version of YouTube. The customer, you could then say, would leave... It's a free market, blah blah blah. Well, if every single service provider is doing the same shit, it's not a free market.
What we have now is a free market for content creators like me, to provide you with a site at the same speed and price as everyone else, included in your standard internet or cable pricing.
It's a truly level playing field, so don't let big business and government lie to you and manipulate the truth. Especially not a Trump government.
That's right, a new tax with the user paying more and usually what starts in the US has a habit of ending up in other countries as well.
The other problem is it is in danger of creating a really segmented internet where you can only ever enjoy one part of it at any one time.
People can't constantly swap and change service providers, they will be in 24 month contracts before long anyway.
If you only have one connection available in your area and it is with a company that is anti-Netflix, would one be happy with their shitty rival version and no alternative? How is that a free market?!

cantsin nails it with his post.
I cannot fathom how anyone on this site... content creators... can agree with their biggest showcases (youtube, vimeo, ...) being possible paywalled. Or they'll add a monthly limit. I also cannot see how deregulating an oligarchy of ISPs is going to do any good for customers.
Maybe i have that view because i work in IT. For myself i don't care, as i know my ways around ISP induced limitations (look up tunneling through https header packaged traffic to your own VPS) ... but frankly, you (the US) will loose so much. Not only in media creation, but also for new startups, who will find they'll eventually have to pay the big providers to even get speed or connection. That's where you are headed.

cantsin nails it with his post.
I cannot fathom how anyone on this site... content creators... can agree with their biggest showcases (youtube, vimeo, ...) being possible paywalled. Or they'll add a monthly limit. I also cannot see how deregulating an oligarchy of ISPs is going to do any good for customers.
Maybe i have that view because i work in IT. For myself i don't care, as i know my ways around ISP induced limitations (look up tunneling through https header packaged traffic to your own VPS) ... but frankly, you (the US) will loose so much. Not only in media creation, but also for new startups, who will find they'll eventually have to pay the big providers to even get speed or connection. That's where you are headed.

I had some calculation fun, with @Don Kotlos's excellent male head height figures...
Taking into account @Neumann Films picture of the crazy color graded guy from chin to upper forehead ... while knowing that it was filmed 30" away
This is what some easy calculations came up with (don't worry bout feet or meter, i just used inches in the calculation): 

Link to the Calculator
Which ... if our guy has an average head ... then this was filmed on a Micro 4/3 sensor, cropped to 16:9
Even if our guy has a BIG BIIIIG head (99th percentile), and even slightly cropped, he barely makes it into open gate 4/3 territory :

So i would really rule out any sensor larger than that.... S35 seems completely improbable.
Just in case, the calculation for S35 in 16:9 cropped to 4:3(best case scenario) with largest head :

Even with Mr. Bighead, we are getting further away from the 30" @Neumann Films mentioned.
I'll stick with the 4/3 rumor