Mmmbeats

I'm contemplating investing in a vintage lens set, maybe FDs, maybe Rokkors, maybe something else, but figured I'd take stock of what I have and see what I can see.
First I'll post the images in case they're of interest to anyone, then digest them in future posts.
Test was GH5 in 400Mbps 4K ALL-I mode, Cine-D, Daylight WB, put onto a 1080p timeline.  I tested all lenses wide open (typically around F2) and at F5.6 (all lenses were closed down some by then).  I also did a 2X punch-in for each lens, because I like to use the 2X digital zoom function to grab quick shots, which also functions as a proxy for shooting 4K (although that doesn't matter so much unless you're doing VFX).
Test setup had some depth, some glare, some sharp detail in the background, but nothing too outrageous..

Lenses..

Hi Tomsemiterrific

I'm in a bit of a hurry here but here are some notes that I've collected over the past few months. Hope this helps.

Canon C-LOG
18% Middle grey = 32.79% IRE
90% White = 62.74% IRE
http://www.dvxuser.com/V6/showthread.php?300371-how-do-I-know-I-m-properly-exposed-when-shooting-in-C-log/page2&s=d408a43004d503887fd6bc7fd4a2ab77
On another forum, James Longley, who has been using C-log for his Afghanistan documentary, posted this:
"One thing about exposure: Don't overexpose the C300. Just set the zebras at 90% (+/-5) and don't let anything go over unless absolutely necessary. You may think that the shadows are gone, but they're not. The camera is very forgiving – you get so much more than what you can see of the darks on the LCD screen in daylight. You have to just have faith that the shadow detail will be there when you bring the material home."
It is always important to test, but I think you can expose highlights in C-log up to 90% on a waveform.
Using a lower ISO won’t cause more noise, but will result in less dynamic range, in particular in the highlights. Instead of using a lower ISO, use an ND filter. Also, to reduce noise, I recommend overexposing by about a half stop. Canon doesn’t recommend this, but Shane Hurlbut does and my testing has confirmed that this camera needs a little extra light to keep the noise down.
Ebrahim Saadawi:
Activate waveform, expose until just before 100%. Trust me, this is the best image for the C100 C-Log in noise, DR, colour, skin. You'll see when you try it. The image is so much thicker and nicer when brought down while falls apart while pulled up. It's so easy to expose as the waveform is super fluid (real time at 25 fps). And yes ETTR even by pumping up ISO, on the C100 an under exposed 850 image is noisier than an ETTR 3200 image. But ideally, ETTR with iris and shutter and lights at 850 native ISO. 
Yes if you don't want to spend the huge effort of neat video in post, in shoots where you're going above 6400+ ISO, increasing the NR to 5 in the menus gives a ENORMOUS lowlight advantage with no detail loss. Beyond that you start losing. 
Also test using WDR instead of C-Log. Especially for +6400 ISO with +5 NR. I would actually shoot the first one shot in WDR at 850 ISO under sunlight just to avoid the initial momentary disappointment  you might get with seeing your first shot in C-Log, especially if it's in lowlight, with Cinema Lock (no DR) and exposed down a bit. WDR serves GREAT in fast jobs, some people even prefer it for grading. So compare both too as a test. 
http://www.hingsberg.com/index.php/2013/01/canon-c-log-exposed-literally/
The chart below that I put together is based on information provided from Canon’s whitepaper on C-LOG. From the chart you can see how image brightness values are remapped to new values. For example 18% middle grey which is normally 50%IRE moves down to around 32-33%. 90%IRE (white) will appear on your waveform monitor at only 62-63%. It’s really important to use these new values (even if you don’t understand them) when setting your exposure in C-LOG mode since it will maximize the dynamic range your sensor is capable of and preserve as much of the scene information as possible. This “maximum” amount of information is needed later when you de-LOG your footage and begin grading and color correcting in post.
http://blog.abelcine.com/2012/10/05/working-with-canon-log/
http://www.hdvideopro.com/columns/help-desk/the-rules-of-log-exposure
Canon C-LOG-18% Middle grey .textClipping

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Please keep this conspiracy nonsense to yourself. 

I'm not an expert in this, but one thing i have been gleaning from pro Canon users is that the official LUTs are not very good for some reason, and that highlight rendition is a particular area of concern.  Many people are using third party LUTs for input.

Ah yes, MiniDV! The bane of my existence for 12 years! A lot will come down to how you capture it (are you doing a standard firewire capture to DV or are you capturing it via capture card to a different codec?), how well it was filmed (is the exposure and white balance OK?) and what camera was used (a lot of low end camcorders just had horrible, muddy colors unless used in bright, bright lighting). 
You'll want to avoid using one of the cheaper capture cards that will record it to h.264. I've never had good results capturing SD video to that codec and editing it, so I think it's better to capture to DV if you have the ability to. ProRes will also work if you have a way to capture it that way!
If the footage is decent-ish you should be able to do a bit of color correction and get relatively close to what you'd get using a similar modern consumer camera, but you're not gonna be able to get away with heavy grades or anything. The process overall though wasn't radically different to how I worked with HD camcorder footage once I upgraded, so assuming it's decent footage you should be OK doing what you normally would just with tempered expectations. 
If it's not very good footage though you'll have more issues than you would if it were HD. Denoising never really worked that well since it removed way too much detail for a lower resolution image. Maybe that has gotten better thanks to better denoising tools? But muddy and noisy footage is where you'll have your problems; there isn't a ton you can do with that. Even basic color correction is a pain in the ass. 
 

The weight is a good thing in my view.  I had to do some off-the-cuff hand-held shots with no rig.  No micro-judder!  None!  I decided to build some more handheld into my project.  Built like a mirrorless, but really handles like a camcorder.
 
eta: I was using the A60 (or whatever the larger battery is called) though.

That was my initial thinking but I think they are talking about outputting slow motion to an external recorder and are using "monitor" in a different context. 

Well, the card itself cost 60K...

I think the GH6 may not need an attention grabbing feature to stand out considering the price bump.  People who were at the limits of the GH5 might find that the GH6 is worth the upgrade, considering how much money they might have in lenses and the total cost of changing systems.
For example:
120p going from 1080p to 4K is a useful upgrade for those that use that mode, sports shooters for example 60p going from 4K 8-bit to 5.7K 10-bit is a meaningful change too, especially for those shooting log Even in an incremental upgrade there are likely to be other minor improvements.  The Panasonic colour science has advanced quite a bit from the GH5, so even if the GH6 just 'catches up' to S1/S1H performance, that would be something.
Addition of Dual-ISO would make a huge different to people who shoot in low light.  I shoot with f0.95 lenses in available light and that works well, but it would be nice to be able to stop down to get a deeper DoF without the noise overwhelming the image.
A new sensor opens up some very interesting possibilities, including faster read-out times, higher DR, dual-ISO, etc.
A new processing engine is something that's also interesting considering the existing processing engine is actually enormously capable.  I did some testing and confirmed that the GH5 does the following:
4K and 1080p are downsampled (which everyone already knows) 4K60 is downsampled, so is 1080p60 (and IIRC so is 1080pVFR) Also, the 1080p mode with 2X digital zoom is also downsampled from the middle 2.5K of the sensor, even in 60p! None of this pixel-binning, line skipping, BS that other cameras seem to think is normal.
So, if the processing engine is being upgraded and gets new features, they won't be to enable it to do things you'd expect it to do anyway, it will be things that are in addition to normal functions you'd expect.

Managed to fly this C70 + Sigma 18-35 + RS2 combo all day today, not as heavy as I thought it will.  Ronin was chewing lots of battery vs when I fly my R5, down to like 25% at end of the day vs ~50% when i fly R5 + 24-70 2.8.

Ah - now that you mention it, both the hire lenses I was using had IS engaged!  I'd forgotten that because I generally own manual, non-stabilised glass, so I had mis-remembered the setup.  Apologies!

CLOG3 / BT.709 can be nice though. You don't need a LUT and it is easily gradable by just adding contrast.  You don't actually gain any information in the highlights, just way way down in the shadows.

I agree that weight is nice, but this camera does not have enough. I added a cage and monitor with a battery and it feels a bit better. I still think IS lenses are clutch. 
My C70 with the cage (no monitor) is only 10 ounces less than a stripped down C300 Mkii. Kind of interesting. The C70 is still a better gimbal camera and easier to pack around, but it's not exactly a light weight DSLR.
The big bummer is the lack of EVF. You lose that point of contact. It was on purpose so people would be forced to buy a C300iii for a true documentary camera.

The weight is a good thing in my view.  I had to do some off-the-cuff hand-held shots with no rig.  No micro-judder!  None!  I decided to build some more handheld into my project.  Built like a mirrorless, but really handles like a camcorder.
 
eta: I was using the A60 (or whatever the larger battery is called) though.

you probably need 3/8" to 1/4" adapter for the center hole for default plate.
 
 

Shadow integrity is phenomenal on the camera.  Would make using the (otherwise excellent) previous gen cameras like the C300 mkii, and the C200, a bit of a pain now.

Agree about the official Canon LUTs - they are a disaster.  Not quite sure how they've allowed that to happen.  I actually genuinely believe some of my early concerns, re: highlight rendition, etc. may have been down to how people have been applying the official LUT! 😲  

Would recommend trying out CLOG2 over CLOG3, as the latter is really designed to protect shadow in a way that isn't really necessary with DGO.

Used the C70 for a shoot for the first time recently.  Very impressed.  I honestly think that Clog3 is pretty much redundant in this generation because the shadow detail is rendered so clean in Clog2.

And to emphasize something...

That's my go to multi camera kit. That's a GH5, G85 and a GX85. There's two 12-35mm f2.8 lenses (mark I and II), a 35-100mm f2.8, a 14mm f2.5, 25mm f1.7, a 20mm f1.7 and the XLR audio adapter. Not shown are the 42.5mm f1/7, a Olympus 7-14 f2.8, and the Pana Leica 15mm f1.7. And I had every intention of getting a GH5s before covid-19 hit. It still blows my mind that I can fit all that into one case, and if I really wanted to I could fit the lenses not pictured into a slightly larger case and bring it all with me to every shoot. 
There are people more invested in native M43 gear than I am, but I'm pretty invested. I'm not complaining just to complain. I want M43 to succeed! Do you know how wonderful it is to be able to throw the 35-100mm on the GX85 and get stable footage in 4K with such a small footprint? Concerts, festivals, sporting events, and anywhere else that has restrictions on what kind of cameras you can bring don't bat an eye at a tiny camera with a lense that's about the size of a can of soda! You simply cannot do that with an APS-C or full frame camera with a 70-200mm lens. 
It's a system worth keeping! Panasonic though seems to be moving on. 

Used the C70 for a shoot for the first time recently.  Very impressed.  I honestly think that Clog3 is pretty much redundant in this generation because the shadow detail is rendered so clean in Clog2.

Sorry.
Nah, what I'll probably do is buy the C70 on a 0%, 1 year payoff plan (thank you B&H!) and write the camera off against the taxes for my LLC. Nothing wrong with leveraging other people's capital to grow the business. If I decide to sell it in a year or two, doesn't look like used prices are dropping fast. 

Well that typo got me excited.. for a second!

is upscaled 3.2 k to 4 k, on the FS5 at 1.3-1.4 x magnification was not bad, beyond was very digital.

Not the FX6.  It has an essentially 4K sensor so can't do a 4K S35 crop (you can do 1080p).

Seriously head-turned by the camera though.

You’re right, hadn’t realized the FX6/FX3/A7S3 can’t do 4K S35 crop, that eliminates a ton of lens & punch-in options.
I guess advantage R5/R6 who can do both and C70 as well with the speed booster.

GH4 is simply a great camera.  It has massive usability with all the customisable buttons and menus.  The 4K image is really nice.  The battery life is simply insane.  Use genuine batteries and it is actually difficult to go through two in a single day.  Some shoot days pass without a battery change.  I've never owned a video camera of any kind that managed power like that.  Unfortunately the GH5 has not carried on that aspect.
Only downsides - 8-bit internal only, and low-light performance, which is decidedly meh.  Any other omission is just a matter of need / taste / luxury really.