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Some grabs (all from YT 4K mode using screen capture tool)... all from: https://www.youtube.com/channel/UCeYoFHiCGpoJYofP26ZpSaQ GH6 R5C R3 Komodo S1H FX3 C70 UMP12K I tried to grab the highest resolution / best codec images. I'm not really sure how much we're looking at the cameras and how much we're looking at the LUTs, presumably that the manufacturer supplied (hopefully!). It would be fascinating to put each of these through a CST to LogC and then put them all through the LogC-709 LUT from ARRI to get the same colour science.

That's probably the best one that's been out so far. Especially considering they do the same test with same model at same location for multiple cameras. Unfortunately the weather is different all the time so it's not controlled the way that a studio test would be. What were your thoughts about the image?

Batman just reminds me of spoiled 4 year olds feeling entitled to do WTF they want in the supermarket because they're wearing a costume they got from grandma at xmas. I have zero interest in seeing this stuff. I did enjoy Guardians of the Galaxy, and Dr Strange, but they're making all the crossovers now so you have to see whatever person X did in the person Y film to keep up. In 10 years it will have fully transformed into an action-comedy series "Marvel: Episode 32 - The one where they eat chips and save the world from armageddon using only a plastic fork".

I agree about the GH5 having a sharpened / NR look. That's one of the reasons I'm keen to see how the GH6 renders its downsampled Prores. I'd probably shoot 1080p Prores HQ, or perhaps a slightly higher resolution if they have one, like a 3K one. In terms of the GH6 vs the P4K, the GH6 is far more neutral than the P4K in latitude tests. (Unfortunately there's only a few P4K images that I can find. If you have any others then please share - the GH6 test from CineD has more of the GH6.) GH6 - 4 stops under NR: P4K has colour shift issues at 4 stops under....... That's true - a few cameras support both BM and Atomos recorders. I was talking about getting internal RAW though, which I still don't think they'd do as it would essentially skewer the relationship with Atomos. I think the footage released so far has been pretty random and mostly not that helpful. What we really need is someone to hire a model and a nice cine prime for a day and just go out and shoot in the sun, in the shade, and do some sitting tests in with a colour checker in controlled conditions and just cycle through the codecs, perhaps going under and over a few stops to see the latitude of each codec. GH6: GH6 is unusable at -5 stops. P6K starts to have noise and colour shifts at -5 stops: A74: -4 stops looks clean and -5 with NR is still clean but shifts in colour: GH5ii: -4 is fine and -5 is ok but has colour shifts FP tests - CineD compared exposures to "ETTR" so no idea WTH that means: CineD certainly have no standard test approach for latitude tests - almost no cameras have over-exposures pulled back and the under testing seems erratic. Komodo: BGH1: -5 is noisy but colour is relatively good A7S3: -5 is good with NR, but a bit messy without it S5: starts having issues at -3 stops: R5: Things start to go bad at -5 Zcam e2-f6: colour shifts starting pretty early in the Prores: but creep into the RAW too: Not too sure what to make of all of that, considering we don't really have over-exposure tests for most? but, it seems that most cameras require NR at -4 and fall apart at around -5, with some sliding into terrible colour shifts and others being relatively neutral, with the GH6 on the neutral side.

Great to hear!

I'd doubt that it would help with the corner warping problem. I suspect that it is simply a side effect of how the IBIS mechanism works and there's been no talk about an innovation in the stabilisation approach, just that it's now got more stops of stabilisation.

Sorry to hear this - it's probably too expensive to fix. A few thoughts - it could be a faulty sensor.. in a nice clean environment maybe give it a gentle blow out with a rocket blower to remove any stray fibres or dust that might be interfering with the mechanism. You could try flashing the firmware again on it, assuming it will let you, as maybe that has gotten a little corrupted over time perhaps. Otherwise, that flipping it around trick might be enough, depending on your shooting style and situation.

Wow, the S1 has no ALL-I codecs? That's a bummer. The P4K has about the same DR as the GH6 in DR Boost mode - 11.6 / 12.7 vs 11.5 / 12.8 (Source is the P6K tests where the make some comments about the P4K: https://www.cined.com/blackmagic-pocket-cinema-camera-6k-lab-test-dynamic-range-latitude-rolling-shutter-more/) From my perspective the GH6 and P4K are so incredibly different that they're incomparable. You'd have to be shooting in pretty narrow and controlled conditions for their differences to not be relevant - IBIS, battery life, photo mode, automatic settings, etc etc. I doubt it. They've announced Prores RAW with Atomos and I doubt they'll provide a second RAW option - most cameras don't even provide one RAW option!!

Some thoughts..... Think of the total ecosystem that you have This includes cameras, lenses, batteries and chargers, and all your accessories, and then build a system that works for you. Think about failures and having equipment redundancy too. My travel setup is two MFT cameras and an action camera. If I want to shoot simultaneously then I can use the same lenses across the two bodies. If my action camera dies I can use a wide on a second body to emulate it. If my main camera (GH5) and lens (Voigt 17.5mm) and mic (Rode VMP) disappear then I have backups for those three (GX85, 14mm f2.5, Rode Video Micro) which are small and I can easily carry as a spare. If my backup / 2nd setup dies then I can use my action camera in a pinch and there's also my phone. The difference in DoF is 2 between MFT and FF, so to match the FOV and DoF of a 50mm at F4 on a FF camera, you would need a 25mm F2 lens for an MFT camera. But you should also think about the base ISO of 2000 on the GH6 as I'd assume you'd be using V-Log and DR Boost, which might require new NDs to suit the new lenses you'll probably have to buy. Don't just think of the fact that MFT has faster lenses with the same DoF, because the sensor is smaller and therefore has higher noise and therefore requires more light to get the same performance, but then technology of the sensor and processing all apply and then there's the sensors with dual-ISO or dual-gain and then there's blah blah blah blah. Long story short - there are too many variables that factor in to be able to predict low-light capability. The only real way to compare low-light is to look at a test of the two cameras you're comparing shooting the same scene with equivalent lenses.

Actually, what I said was "I've heard that most professional productions shoot Prores rather than RAW, and that RAW is typically only used by the big budget productions and by amateurs." and that's when this side-conversation started. I'm still keen to hear more about how often and why productions would shoot Prores even on cameras that can shoot raw. I figure the explanation is probably a combination of it being simpler to work with (as all software can play it) and that its image quality is good enough.

Well done for saying something that was correct, unfortunately I have completely lost any sense of what point you are trying to make. Perhaps you could try again?

Panasonic have confirmed that the GH6 will get Prores RAW in a firmware update, so you can capture RAW if you like when that arrives. Every time there's a MFT camera realised the people come out of the woodwork to try and tell us that AF and Toneh are somehow now mandatory for all film-making. Once upon a time everyone laughed at digital photography saying that it would never replace film. What's that saying? The people saying something isn't possible should get out of the way of those who are doing it. 🙂

The bitrates are available from most reviews of the camera, this one from newsshooter.com is pretty comprehensive, and for the higher frame rates I just multiply the bitrate by 24 and divide by the frame rate to get the effective bitrate that the viewer will see when the footage is played back at 24p. In reality a slow-motion shot taken at 200Mbps / 240p won't have exactly the same image quality as a 20Mbps 24p file would have because the subject matter doesn't move nearly as much from frame to frame in the 240p one, but like anything it will be subject specific. 50Mbps is a good amount of bitrate for recording an interview mid-shot with a blurry background as not that much will be moving, but it's no-where near enough if you're recording trees and snow during a blizzard. Let me put it another way. When we record a scene with a camera, grade it, and then play it back on a calibrated playback device, the colour and dynamic range that appears on the calibrated display is almost never accurate. We do all kind of creative things to make the image look more in-keeping with the vision from the director or other people in charge. We add or remove contrast, we change the WB, we cool the shadows and we warm the mid-tones, we take keys and selectively change those areas to make them brighter or darker or more or less contrasty or differently coloured etc. In other words, the output is a pleasant fiction. There are other elements that are a fiction too. We record at 8-bit and 10-bits and 12-bits and 14-bits and more, the sensor is reading things at a certain bit-depth and doing colour and gamma changes before the bit-depth gets converted to the output format, which is then decoded and processed in a different bit-depth inside the software we're using (IIRC Resolve operates internally at 32 or 48 bits), then output at whatever bit-depth you choose when you select the delivery codec. Resolution is also a fiction. The sensor captures an image, it gets de-bayered, it might be downsampled in-camera to the capture resolution, it gets scaled to the timeline resolution in the NLE, and output at perhaps a different resolution again to the delivery format. Softening and halation and sharpening are applied. Most/all of these operations will interpolate between pixels so it's not a simple 1:1. Now, take the situation where you're recording with a GH5. The camera is capturing 5.1K at who-knows-what bit-depth and perhaps its 10 or so stops of DR, it converts to the colour profile which might crop the DR, it rescales the image to the target resolution, and it saves the file to the codec you've selected. The NLE loads the file, colour grading does whatever the hell you want to the image, and then it gets exported to whatever delivery format you've chosen. If we'd exported that to a rec709 colour space, let's say in UHD or DCI4K, the image will have been downscaled, the bit-depth downconverted, and the colours changed - potentially quite severely. If we'd exported that to a rec2020 colour space, also in UHD or DCI4K, the image will still have been downscaled, the bit-depth downconverted from whatever was read off the sensor, and the colours changed in basically the same way. Sony cameras famously had the worst rated colour science, but that was actually the most accurate colour science when it came to capturing things as they really were. No-one likes accurate colours, and a search for the word "accurate" in any colourist forum would probably only return results from people who stumbled into the discussions and didn't know that the concept is completely alien to the task at hand. There isn't even agreement about how to master HDR content... Netflix and creators of broadcast standards have an opinion on how it should be done technically, but there are significant flaws with their logic and there are completely differing opinions, especially from people who are very well respected. I've linked to the time here: In his masterclass he gave a slightly different explanation which included the idea that when a person is presented with two displays, one SDR and one HDR, they are likely to adjust the brightness on them differently based on how people grade, so if one of them gets graded brighter or darker (maybe because it's "correct") the user will probably just change the brightness and un-do the "correctness" of the gamma shift. I'm probably saying this all wrong, but in a sense correctness is a myth - the TVs out there in the wild have vastly different colours and gammas and are in all sorts of different environments too. The idea of chasing some kind of technical purity is a myth to begin with because colour grading is an art and not a science, and then also once the image leaves the streaming platform then who-knows-what will happen to it once it reaches the consumer too. Long story long, recording and publishing to SDR is a fiction and always was, and so publishing to HDR can be done just as successfully while still remaining a complete fiction. Hopefully that makes sense?

So, if they were the only ones that offered RAW, and they all shot Prores, rather than saying...... wouldn't it be more correct to say that all cameras that shot RAW also shot Prores? Which was my original point... that cameras shot either RAW & Prores or h26x-style codecs, but very few offered h26x and Prores. Which was why it's so hard to compare the two codecs.

I have noticed that there seems to be a world of subtle timing with editing and the edit points themselves. All edits have a rhythm and pace of their own, music or no music. Try clapping your hands to an edit, any edit, and you may be able to "find" that pace. So, edit points can happen on the beat, slightly before/after it, deliberately off the beat (either on the off-beat or intentionally nowhere near any beat and therefore unexpected). When there is music then there is a time signature involved and there will be bars, where the first beat in that bar is more important than the other beats and may be emphasised. So then you can have edits aligned to the first beat in a bar, or the third beat in a bar, etc. So much variation.... but it's hard to really "see" them, because our hearing is much more time sensitive than our vision. Here's a super niche trick to 'hear' the edits in Resolve. start with an edit with separate clips. use the Scene Cut Detect if you need to get a sound file with a short sound and put it in a bin on its own (a short beep sound is good) duplicate the audio part of all the clips in your edit to another track highlight them all and disable the Conform Lock Enabled option on them (and ensure it's on for all other clips) right-click on your timeline and select Timelines -> Reconform from Bins on the Conform Bins, unselect all bins except the one with your beep sound in it in the Conform Options, select only Codec (that's the only setting I found that works) hit ok every clip that you disabled the Conform Lock on in your timeline should now be your beep sound, and if you've trimmed it right then you will now have a track that beeps every time there's an edit point adjust volume on the track to be something sensible watch your footage and be able to 'hear' the edits Let me know if you actually do this and what you find. I'm currently looking at Mustafa Bhagats work on Parts Unknown and he has a fantastic sense of rhythm and timing (being a musician in addition to an editor probably helps with this) so I'm hoping to learn from these.

I find the aesthetic of 120p to be very artificial - it's absolutely a special effect that calls attention to itself. The aesthetic of 60p conformed to 24/25/30p is still connected to reality but is more surreal, like we experience in moments of intoxication or high-emotional states. I notice it used in narrative work regularly. I think there's a reason that the cinema cameras have offered 24/25/30/48/50/60p for decades and 120p is a relatively recent arrival. The triplet of ALEV sensor, DGO sensor and the new GH6 sensor all offer the dual-gain up to 60p and I think this correlates with this application. I don't think I'll miss it above 60p really.

I haven't seen this anywhere either, but the GH5 had that because of the ETC mode and the resolution of the sensor, but now that's changed on the GH6 it'll be interesting to see. I'd imagine they'd include a 2x digital zoom function, but that will have a crop-factor of 4, rather than the 2.88 for S16. You could always shoot 5.7K with the custom frame guides set to frame up a S16 crop, then crop in post. It's cumbersome but possible, although I certainly wouldn't claim it was ideal.

Apart from RED, ARRI, and BMD, and the latest crop of RAW-internal cameras, were there any other cameras that shot RAW internally? I didn't think there were many/any others that shot RAW internally?

Thanks 🙂 Yes, I'll be grabbing one when there's a reason for me to own one... No plans to go anywhere for quite some time yet, unfortunately! In terms of HDR, there are actually two conversations. One is on HDR acquisition, and the other is in delivery. HDR Acquisition - we already have HDR acquisition, and have had it for decades! The rec709 container has about 5.2 stops of DR (source from Sony) - so any time you're capturing images with a camera that has more than 6 stops of DR and delivering 709, then you're capturing more DR than you can output, which is why we talk about highlight and shadow rolloffs - we need to squeeze the 10+ stops of acquisition DR into the output gamma. In terms of HDR delivery, yes, everything that the colourists are talking about is relevant here. In terms of the GH6, I don't care about HDR delivery - it's about capturing the scene as it exists. The output format doesn't matter if I can't do that at the point of capture. or, if you're just interested in what's in and out of bounds, maybe a LUT that just colours anything outside that range with 100% blue to indicate clipping? I'd imagine someone would have made a technical LUT like that surely? The Veydras / Meike lenses would be perfect - especially with the better low-light of the GH6 better catering to the slower T2.2 from those ranges. I thought the consensus was that the Meike lenses were basically slightly different housings on the same glass? Still, both are great lens sets! I think this whole "MFT only has value because it's cheaper" thing is complete BS. When a person is able to go out into the field, point their camera at something worth seeing, get the subject in-focus, exposed well, compose appropriately, and get a high quality file onto a memory card or SSD, then who gives even the most remote flying f*ck what camera that was shot on? If Sony released a FF camera the a100C that was $99.95 would that make all other FF cameras problematic because of their price? "Oh, the A7S3 is a nice camera and all, but it's 40x as expensive as the a100C, so I just can't see how it's worth it". A camera is a box that you plug glass, audio, a battery, and a memory card into, and you point it at stuff and it turns light into digital files. Seriously 🙂 I mean, if we're going to hold onto MFT starting as being cheaper then why aren't we holding onto FF being film? I don't know about this R5 - FF cameras started off as film and I really don't like that they're all digital now. MFT was always digital - FF should stick to its roots.. it's so sad what FF has turned into really. 😔😔😔

I think the GH6 is a triumph of incremental upgrades that provide a real difference when shooting run-n-gun video in the real world. With the headline features so prominent, it's easy to miss the many smaller improvements that can actually make a big difference to shooting. We talk about cameras like they're museum pieces or engineering spectacles, but often these things don't translate to the real world. The following are my views of the GH6 from the perspective of a travel videographer upgrading from the GH5. I've tried to include as many example images as I can - please note that these aren't fully graded and are often compromised due to me pushing the limits of what is possible from the GH5, what was possible under the circumstances, and what my limited skills could create... But let's get some obvious things out of the way first. Things I don't care about..... Autofocus The AF is improved. People who used the GH5 AF will like the GH6 AF, and people who didn't like the GH5 AF probably won't be moved by the GH6 AF. I don't use it, basically ever, so I don't care. If you do care, then good for you.. move along, nothing to see here. Extra resolution There's more resolution, but the GH5 had enough resolution for downsampled DCI4K and lower resolutions, and the 2x digital zoom and ETC modes provided useful cropping modes as well. The extra resolution doesn't really matter to me. Size and weight I care about this a lot actually, but it's not substantially larger than the GH5 from the front, which is the dimension that matters when filming in public. The extra depth is immaterial when you have a lens on the camera. The extra weight is unfortunate, but isn't that much and is well worth it for the fan and screen improvements. Internal Prores Prores is a professional codec that offers considerable improvements throughout the whole workflow. I'm not going to say much else on this as I created another thread to talk about this but it's great to have the option, and I definitely appreciate it. Many people were happy with the GH5s codecs, especially the 10-bit 422 ALL-I codecs, which were a shining beacon in a sea of poor-quality IPB cameras, but even those have been improved.... Huge improvements on h264/h265 codecs The GH5 had 200Mbps 1080p and 400Mbps DCI4K, but the slow-motion modes are limited to 150Mbps (4K60) 200Mbps (1080p60) or 100Mbps (1080pVFR up to 180fps) and the effective bitrate dropped significantly when you conform your 60p or 180p footage to 24p - as low as 13Mbps!!. The GH6 has 4K60 at up to 600Mbps (SD card) or 800Mbps (CFexpress type B) - an effective bitrate of 320Mbps, and in 1080p240 800Mbps which is an effective bitrate of 80Mbps. Oh, and these are all 10-bit 422 ALL-I, as opposed to the GH5 8-bit 420 IPB. Oh, and also also, the 120p is now in 4K too. If you're shooting sports this is a big deal as often players are in direct sunlight, depending on the time of day there might not be much ambient fill light, and any reflections from the field may be strange colours such as green grass, or various coloured artificial turf, which will drastically benefit from the 422 10-bit when colour correcting footage. The extra bitrate is also great for having clean images when players may be bright against a very dark background really highlighting any compression nasties on their edges. The ALL-I will be great in post too. I'm curious to see what the 300fps looks like in real-world situations, but I've shot a lot of sports with 120p and it seems slow enough to me. Dynamic Range Boost This is a big deal for anyone recording in uncontrolled conditions, and especially for travel. This isn't a vanity exercise or BS tech nerdery, this is a real creative consideration. When you're shooting travel, the film is about the location and the experience of the people in that location, and the weather is a key consideration of this. With the GH5 I often had to choose between clipping the highlights (ie, sky) and exposing for the people. I also chose to expose for the sky on my XC10 and in combination with 8-bit C-Log recorded a large amount of spectacularly-awful looking footage of my honeymoon. Here's a frame of C-Log SOOC from that debacle: The shot was also mixed lighting with the subject in the shade, being lit by a coloured Italian shop-front immediately behind me that was in full sun.... Being forced to decide between the subject and the sky is problematic if the shot you want is "person at location X at sunset" and you can't feature that person and also the sunset. It's also relevant for anywhere with tall buildings that create deep shade - the below is a nice dynamic image but it's a tad overdone and not how we actually see the world: My experience with shooting the OG BMPCC / BMMCC is that their ~2 stop advantage in DR over the GH5 almost completely covers this gap. Images with someone standing in-front of a sunset no longer feature either an anonymous shadow person swimming in technicolour-grain or a digitally clipped sky. The GH6 DR Boost feature will help in these situations, allowing subjects to be filmed in-context rather than only in select locations were the light is just right but the scene is irrelevant. Would more be better? Sure. I can hear lots of people thinking "go full frame then - moron" but the GH5 was (until now) a camera with a unique set of features not bettered by any other offering for this type of travel shooting, so while the current alternatives give with one hand they also take away with the other, normally taking away a lot more than they give. Full V-Log Having a colour profile that is supported natively by Resolve is a huge thing for me, as it allows WB and exposure adjustments to be done in post without screwing up the colours. This is important because in shooting travel there are times when you can't even stop walking to get a shot, let alone have enough time to pause, get exposure dialled in, and heaven-forbid to pull out a grey-card and do a custom WB! A great man once said "tell him he's dreamin"! This lighting all looked neutral to the naked eye - GH5 HLG SOOC: The advice I got from the colourists on that was to lean into it and just pick one or the other and balance to those, but sometimes the mixed lighting isn't really something you want to lean into.... GH5 HLG SOOC - look at the colour temperatures on the grey sleeve from what appears to be the strip-light from hell hanging just above their heads: Better Low-light performance Filming in available light in uncontrolled conditions often means needing to use high ISO settings. This is a shot I've posted many times before, and the BTS of me shooting it, in a row-boat lit only by the floodlights on the river bank maybe 50m away. Notice that the smartphone taking the BTS photo couldn't even focus due to the low-lighting. It was using the GH5 in full-auto (likely a 360-degree shutter) and with the Voigtlander wide open at F0.95. I don't know what the ISO on the shot would have been, but there's quite a bit of noise, especially considering this is a UHD clip downsampled from 5K in-camera (200% zoom on a UHD timeline): I don't mind the quality of the noise actually, and it responds to sharpening really well giving quite an analogue image feel, but if the image is this noisy then the colours aren't going to be at their best, and that isn't desirable. There are a number of fast primes on MFT (ie, faster than F2) but getting sharp images wide-open is problematic, even from the very-expensive Voigtlander f0.95 primes. The GH6's improved low-light is great, and not only does it allow recording in ever-darker environments, but it also allows the use of modest lenses and faster lenses stopped down to be within a higher quality part of their aperture range. An extra $1000 cost on the body of a camera seems like a lot, but if it saves you $500 on every lens because you can buy slower lenses then it's an investment that has a reasonable return. ...and lest you think that the above is an extreme example, having good low-light performance is really just about filming people doing what they're doing, and in case somehow you haven't noticed, it's dark outside about half the time and people go out into it and do things. Another example, here's a shot taken right at the end of blue-hour: and minutes later, here's a shot showing what you can get when lit only by the light of a phone, and providing a reference for how dark this location was: Think of the benefits of better low-light performance here.... it's very low-light, mixed colour temperature lighting, and the main feature is skintones. The noise on the GH5, with the Voigtlander wide open is pretty brutal: New Screen My XC10 has amongst the nicest ergonomics of any camera and a big part of that for me was the tilt screen that didn't get in the way when using your right hand to hold the camera and the left to support the camera and manually focus the lens. The fact that the new GH6 screen allows for both tilting as well as for flipping is great. Contrary to what many believe, the 'flippy' screen is actually very useful for filming things other than yourself. Any time when you cannot stand directly behind the camera is when the flipping screen is useful. I have used it while filming out of windows (such as in moving vehicles, filming the view around the corner of a panorama framed by an arch, or taking a sneaky shot of the kids around a corner without them spotting me and pulling faces). Sometimes you need to hold the camera in funny ways to get a shot: They're also very useful for those who want to take vertical photos from a low or high angle. Fan The GH5 never overheated on me, even in desert conditions, unlike my iPhones have on many occasions, and the GH6 will never overheat either. It's not an "improvement" in the sense that it doesn't offer anything new, but it is a guarantee that all the extra other features won't come at an unacceptable cost. Having a camera that overheats is just stupid, and Panasonic doesn't insult us by providing tools that aren't reliable. Punch-in while recording Checking focus while recording is a pretty fundamental thing, and the GH5 didn't have it (and didn't have the best focus peaking either) but now the GH6 does. Boom. Custom Frame Guides The frame guides on the GH5 were worthless - pale dotted lines that were difficult to see under ideal conditions, let alone while holding the camera at arms length in a moving vehicle. The GH6 has custom frame guides that have a much more visible outline and also dim the out-of-area image, making it super easy and intuitive to use. Frame from @Tito Ferradans review on YouTube: I might be tempted to engage this for a 2.35:1 permanently and then choose what ratio to use in-post when I get to editing. I've tried to shoot for this ratio before with the GH5, forgot and couldn't see the frame guides and intuitively composed like normal, and then downloaded the footage and found that I'd framed every shot too close for the ratio. Fail. Buttons and controls The GH6 has more programmable buttons than the GH5 (which was already great), and the extra custom slot C4 on the mode dial is very welcome. I have my GH5 configured to be C1 1080p24, C2 1080p60, C3-1 1080p120, C3-2 4K24 (in case there's something I'd need 24p for), and C3-3 as 4K manual everything for shooting camera tests. The first four modes are ones I want to just be one dial away while I'm out shooting, so having the extra one is really useful. The GH5 also saved the preset focal lengths for the IBIS on a per-profile basis, so when you switch profiles you switch focal lengths. This is important because when the camera goes to sleep it wakes up but forgets the focal length and goes back to the default one for that profile. As such, you could duplicate profiles and use them to swap between focal lengths, like if you were recording sports on a manual zoom lens, just to name a purely-theoretical example that no-one would ever contemplate.... Better IBIS The GH5 IBIS is great, and when you shoot with fully manual primes and without a rig, is an important function. Having improved IBIS on the GH6 is very welcome and can really help salvage shots that wouldn't otherwise have made the cut. One of the killer features of action cameras is that you can put them anywhere and get a huge variety of images while out in the real world, and that works for MILCs too, but if you're balancing on a chair and shooting at full arms-reach to get a shot and the IBIS isn't able to take up the slack and stabilise it, then it won't make the edit. It doesn't matter how good the stabilisation of something is, there are instances where it will fail, and I seem to keep finding them. USB-C port The Prores and high bitrates will chew through storage and the ability directly record to an SSD would be spectacular. Being able to charge the camera with USB-C would also be useful in some instances. In camera LUT support I'm yet to see how this is implemented but LUTs can be great references while shooting. You can use LUTs for things like false-colour, sure, but I'll be very interested in experimenting with ones that are very high contrast to allow for better visibility in bright conditions, and other more extreme applications that help you get the shot. I normally use the EVF on the GH5 as it eliminates ambient light and adds another point of contact for better stabilisation, but sometimes you have to use the screen and it's not always ideal, so these could be useful for that. Better colour science? The GH5 colour science wasn't winning any awards, and the GH6 combination of V-Log + Prores + higher bitrates + higher DR seems to be noticeably better, which is a welcome improvement for me, especially as I am struggling to shoot in difficult situations often involving mixed WB lighting and other nasties. The latitude tests from CineD look spectacular: This will allow huge flexibility for imperfect shooting conditions. Many times I pull up the shadows in an image (maybe I was trying to get the subject and the sky in the shot - shock horror) only to find the shadows a tinted awful mess. If they look like the above then it will be tremendously useful in practice. 4-channel audio recording with the XLR module This is slightly tempting for me. In post I want a stereo ambient sound, and I also want a directional audio from a shotgun mic, ideally with a safety-track. I can get either of those with the GH5 pretty easily by using the Rode Videomic Pro Plus with the safety-track feature enabled, and simply unplug it when I want a stereo ambience track using the cameras internal microphones (which are good enough if you're only using this in combination with music and other sound-design). But the problem is that I don't know when something will happen, so if I'm recording stereo ambient sound I don't know if my subject will say something at the same time that a car goes past behind me, and I also don't know if my subject will say nothing while I'm recording directional mono audio and then before I know it we'll be somewhere else and I'll have no ambient audio from that location. If this situation seems far-fetched, you've obviously never been on a tour bus in a third-world country before, where you might get dropped off near a small market, you then walk though the market with your group, where there is a stall every 5 steps with a different composition / lighting / and ambient sounds, and there is literally only room for people to walk single-file and you don't have time to stop at each interesting booth for a minute as you capture different compositions and audio options without losing your tour guide. Being able to stop for a few seconds, smile at the person there, and grab a few seconds of action with directional audio and ambient sounds would be really useful. I don't fancy the added size of the module though. Audio screen The GH6 has an audio button function that brings up an audio screen showing all the audio things you'd want. Perfect for quickly checking how the audio is going. With so much going on while shooting it's easy to forget to look at the meters OSD, and having everything in one place seems excellent. I've screwed up the audio on many occasions, so this will be quite useful. In summary.... The GH6 has tonnes of little improvements that I think will make it a much more useful camera when out in the field recording things in difficult conditions as they happen. It looks like Panasonic has done a great job in not just grabbing headlines, but in actually taking the things that niggle or limit real shooters and making them better. Now, if only the world would return to a state where I'd feel remotely comfortable wandering out into it with a camera in hand.....

It seems rather odd that the GH6 dual-gain sensor only gets an extra two stops of DR compared to the GH5, and form what you're saying it could be even less than a two stop advantage. The dual-gain sensor seems like it could be considerably more difficult to design / manufacture etc so only getting 1-2 additional stops seems rather odd. Or is the GH6 sensor tech just not very high DR without the dual-gain function enabled? It seems like they wouldn't have skimped on the DR after putting so much effort into this feature.

Panasonic have announced that it'll get external RAW with Atomos recorders. My question is, have any of the cameras with internal RAW started off with external RAW only? I'm thinking that the external RAW may be an indicator that they've chosen that direction, rather than internal RAW. This makes sense, especially considering that Prores is internal, so even those who want to use a professional codec have an option for internal recording and the run-n-gun minimalist approach that this offers.

According to the CineD tests, here's the GH5 and BMPCC: and the GH6 has 12.8 / 11.5, so it's almost 2 stops, and slightly over the BMPCC sensor, which has a size disadvantage, but it's a reasonable question - technology marches on and 2012 was a looooooong time ago in silicon technology. It'll be interesting to see how it feels when I get one - the differences between the DR on the two cameras is very obvious when you take them out in the real world on a sunny day, that's for sure!

It depends on what you're trying to do really. Before the DSLR revolution shooting a video was likely an auto-SS kind of situation and shooting a film was more of a completely controlled full-manual situation. Really, the concept of shooting something that looks like a film but is shot like a video (ie, with no control over the situation) is something quite new and quite indulgent, in a sense. To want it all, so to speak. I will be the first to admit that it's what I do, I absolutely want to walk around in the world waving a camera around with one hand and somehow miraculously getting silver-screen quality images. Vloggers and low-budget film-makers and corporate and wedding and event videographers are often in this camp as well. But the industry hasn't really caught up. It will, and I'd imagine that in 5 years or so many video-first cameras will have auto-eND filters in them that can do it for you. I look forward to that day, but in the meantime I just use auto-SS for my videos (as they are actually videos) because for what I shoot, speed matters in getting the shot, where I currently sometimes catch the moment only by a couple of seconds and if I added having to adjust exposure to my camera operating responsibilities then I'd often miss shots entirely.

The HLG profile isn't exactly a standard (I've tested it) but it's relatively close to Rec2100 so you could try converting from that to V-Log and try the LUT on that. @hyalinejim might clarify the exact settings for that, but if you have a moment you could potentially try?