mirekti

Well the 5D Mark III with Magic Lantern was the first to output 14bit video and nooooone of you are using it!!

I have it. Great build quality.

It’s pitty Panasonic hasn’t come up with some kind of mechanical lock for its IBIS.

Thanks, it's so nice to hear voice of modesty, out of endless verbal judging what is future or what is dead. Actually, it seems that inner peace and modesty are the most important talents to make a gems such these - with NX1. (And it is great to see that Black Pencil still use NX1... last post is just one month old one).
 

Incredible videos. Now, who needs a better tool when you can make such 'things' with a 4+ years old camera? I'd rather like to learn how to grade like this then to get a gh6 for free.

More DR, internal ProRes and external RAW would be preferably to more pixels.

I think it's time for a GH6 rumours thread.
There were a flurry of rumours in early 2015, including talk of 8K video and people were anticipating potential release dates.  The New Camera made this handy-dandy diagram:

They also made a couple of predictions about a couple of different possibilities on how it might happen:
There's also lots more stuff in there too - http://thenewcamera.com/tag/panasonic-gh6/
We know that The GH5 got 5K video in a firmware update in late 2017, and with all the talk about 8K for the 2020 Olympics, the GH6 might be 8K.  The GH5 5K mode also got H265 encoding, which due to its increased efficiency, is probably a requirement for decent 8K video.
In May 2018 Personal View leaked this: https://www.personal-view.com/talks/discussion/19798/panasonic-gh6-first-rumors
Then during the S1 announcements, a Panasonic rep made comments that indicated that video would continue to be lead by their GH line of cameras (I can't find the link) which helped to firm up the idea of a GH6 rather than abandoning MFT for FF, yet at least.
What do you predict?  What do you want?  Do you care?

kye - do you mind uploading the latest version of your preset? I only see the screenshot of the node tree, but that's not enough for me to play with the idea myself.
If I skipped some info and you did (or plan to sell it, maybe?), then sorry. 

True, but considering this filter adds a massive blur, I wouldn't think it would make much difference.
Maybe for other filters it might matter.

This is what I have received from Fotodiox:
”We've looked into it. The issue is that after adding an optic we run out of space for the built-in variable ND filter. It's not an impossible project, just very complicated. Thanks for the suggestion though!”

Yesterday evening I sent them dm on facebook. Still waiting...

I agree, everything has pros and cons.  Just think about how every new camera release we all turn ourselves inside out because there's no perfect camera
I think it also depends on what situations you shoot.  Some people have control and the time to tweak things as they shoot, and there are real advantages to getting it right in-camera.  Others are recording with varying levels of control or even influence on their situation, and just getting the shot might be the best they can hope for.  For these people, moving light-sources or tweaking settings just isn't feasible, so adjusting things in post when the pressure is off gives them extra creative expression.
My personal situation is that in shooting my family and travel videos I don't have time to fiddle around with various things.  This is partly because we go where it's interesting and not where the light is good, partly because for me the holiday comes before the photography, and partly because I'm just not skilled enough to operate the camera and think about every variable all at once, which is why I rely on automatic settings for some things.  
I started this thread because I really like the look of the BPM filters and was using the Glow OFX plugin with Resolve (that does an ok job at this effect) and wanted to see how well I could replicate the real filters.  I shared it partly because others might learn something useful, because it's nice to give back to the community, and because writing it up forces me to think clearly and critically about it so I learn more effectively by doing it.
Education is one of those things where everyone wins
Edit: I also really love that look during golden hour when the sun is out of frame but catches the BPM and gives a warm light-leak style rendering to part of the frame.  That's also something you could model through tracking and placing the lens flare effect off screen, but light-leaks and flares is something I haven't added to my videos yet, so maybe that's something I'll explore in the future.  I want to really push my videos but not to the point where the medium gets in the way of the content, if that makes sense

Reasons that adding the effect in post is better:
It's free It works on all your cameras and lenses without adapters It works on all your past footage It works on all stock footage You can control the strength of it shot to shot You can control it within frame (you can have the nice skin smoothing effects on skin and not have it go nuts from a direct light-source also in frame) You can change the colour rendering like the Warm Pro Mist filters, or any other tint you care to make (even ones Tiffen doesn't offer) You can change the characteristics to emulate their other filters (Black Pro Mist is only one of the filters they offer - https://tiffen.com/diffusion/ ) You can even have hybrid effects like light sources glow green with a red outer ring around them, all adjustable to taste Real filters can have reflections under certain circumstances Reasons that adding the effect in post isn't better:
It doesn't work properly if any channel is clipped It doesn't work with any light-source that isn't in the frame It isn't an exact match to the look Things that aren't good reasons for doing anything:
That's how they do it in Hollywood

I'd certainly like to do that. Last weekend I figured out the last of the technical framework for the website that I'd been trying to hammer out for two months, so now it is simply a matter of finishing the website to move on to new cameras.
The problem @deezid is referring to here is the infamous red clipping situation;  BMD appears to have unwittingly allowed their redefined gamut for CS4 to clip in the far red region (something that I hope will be fixed before I support it, as any redefinition will invalidate the work)
Working toward it! Its a top priority as soon as I get past the website for it, and I've figured out the most difficult server stuff now. I've been simultaneously shooting a film and battling what is perhaps the worst cold virus I've ever had hehe. I would be displeased with myself if there wasn't something by the sunny season.

Dude, what are you on? ???
Just kidding, thank you for the reply. I know there were some filtermatic lenses in the past, maybe that approach could be taken, maybe in camera ND. Not sure which one, but I certainly need one so I can get rid of the one on the lens’ front filter thread.

Yes, and I think we'll get there eventually.
The FS5 proves it's possible, but when I looked into why we don't all have them I saw something from Sony saying they are difficult to make or expensive or something (can't remember) but basically there was a good reason why we don't all have them yet.
They will get cheaper and easier to make (like all tech does over time) and we'll start to see more high-end cameras having them, and eventually companies will start putting them into adapters, and Metabones will do it and release the kind of product you want.  It will be really expensive.  Eventually it will probably trickle down to be in every camera, probably just built into the sensor stack, but that will be a long time from now.
An integrated electronic variable ND solves a problem that isn't there for high-end cinema cameras, is there for mid-level cine-cameras used for run-n-gun doc work, is there for us hybrid shooters, and the consumer doesn't really care about, and in some cases is actually undesirable for the end consumer (eg, for any camera likely to be moving a lot that relies on post-stabilisation, like all 360 cameras).  It will trickle from where there is the greatest need and money to where there is the least need or least money.

I own a GH5S. It's brilliant. Low light is not a problem. DoF is really not a problem. I can shoot in C4K at 60p with a 1.8x crop factor. I have the creative freedom to shoot at 180 FPS for a particular shot. I can put a speedbooster on it and slap a Canon EF lens on it and have a 1.15x crop factor (a 70-200mm F2.8 will be a 80.5-230 F3.2 DoF)! I have a great lens selection, because I can adapt almost ANY LENS onto my camera! I have great built in preamps. I have a great native XLR hotshoe adapter for my camera. I have VERY useable autofocus for vlog style shots or something that doesn't need precision AF. I can slap on a 100-400mm f2.8-4 MFT (full frame eq.) telephoto lens that can fit in my f*king pocket and cost 80% the price and 40% the weight.
Micro 4/3 is a great system. I think it's best strengths are in video, especially. I think thats why Olympus is a hard sell anymore. Look at the Kinefinity Terra 4K. It's got basically the same sensor as the GH5s / BMPC4K and can do up to 4K 100fps and 2K up to 240fps. The video is gorgeous. The mount options are extremely flexible. And it's under $10K.
People that say M4/3 isn't good don't know what they're talking about or are so biased they can't admit there are things out there that rival whatever they like.
It can do lowlight (and as sensors improve this won't be an argument anymore)
It can do extreme telephoto inexpensively and without much bulk
It has DoF advantages for telephoto shots
It can be adapted to do shallow DoF if you need it
It allows more creative frame rates in a smaller package (smaller sensor, less heat, etc...)
It can do built in IBIS better than larger sensors (smaller sensor, less inertia, better IBIS...look at the Oly E1X for example...it's basically a built in gimbal)
It can still take great photos
It can take 50MP to 80MP photos of landscapes with Pixel shift tech.

It can't do anything larger than 8K.
It can't replicate exactly the "full frame look".
It can't boost your ego if all you care about is sensor size.
 
Yes, I'm a M4/3 fanboy because the GH5S is a great video camera. The mount is very flexible. The tech in the latest rounds of M4/3 cameras makes it even more flexible. But in general the entire M4/3 system has an image problem because people just can't seem to get over that tiny looking sensor.
At the same time I can see the benefits of full frame cameras and I see advantages in owning both systems. I really wanted Panasonic to knock it out of the park with the S line. I hope they can improve upon the initial launch specs, because it looks like a great camera.

Indeed -  the GH5 has been out for a while now and it's still as good or better than newer cameras in terms of key features like codec (400mbps 10bit 4.2.2) and IBS not to forget the low cost. I've got a P4k but it isn't a replacement for my GH5 by a long way.....

probably why the IBIS on Sony cameras is not very good 

The GH5 has real issues with the IBS when the camera is subject to harsh movements in that  the sensor moves even when you turn IBS off.

Your are just coming across like a F ing used car salesman. Oh don't buy Any new Gimbal, wait for this clunker I have coming to the lot in, well it still at the body shop, it will be here ehh, shit I don't know when just wait, is it Just what you need. "Well what kind of car is it"?, ehh I don't really know, but you really Need it!
That is what you are sounding like LoL. It doesn't make a crap if I don't buy anything. You are just pissing around because there is a buck to be made here. People do goofy shit for money. I think you are acting silly and goofy.

That's what I actually meant (4k 60p internally - 10bit 4.2.2), thanks for clarifying it for others.

I thought the GH5s Does shoot 4K 60p internally, but it is not @ 10bit 4.2.2, but @ 8bit 4.2.0???

Iso-test from Griffin Hammond, S1 vs Gh5 and Gh5s
 

Yeah Panasonic's GH line is still one of the most interesting things around in terms of video. We have a bunch of full frame cameras that are a bunch of different flavors of the same thing. I doubt the new Sony will be that different either.