kye

That would be brilliant!!
The vast majority of people wouldn't pay to watch 4K content, YT would take their 4K-preference out of the algorithm, without 4K watching ability most people would stop insisting on 4K content, creators wouldn't be ruthlessly pummelled for not shooting 4K, and the entire platform could switch focus from irrelevant pedantry to actual real content.

That would be brilliant!!
The vast majority of people wouldn't pay to watch 4K content, YT would take their 4K-preference out of the algorithm, without 4K watching ability most people would stop insisting on 4K content, creators wouldn't be ruthlessly pummelled for not shooting 4K, and the entire platform could switch focus from irrelevant pedantry to actual real content.

The internet can be magic, but not that kind of magic!

The problem with digital sharpness is that it cannot be un-done.
If you take a RAW frame, it will have the resolution of the camera/lens with a neutral amount of sharpness.  If you then sharpen that image, compress it, and then blur that image, you don't get the original image, you get something that is simultaneously too blurred and also too sharp - the worst of both worlds.  
If you blur the image sufficiently to counteract the sharpening (and the associated compression artefacts) then you end up with an image that is waaaaay lower in resolution.
If, however, the image isn't overly sharpened in-camera (a tiny amount is ok), then you can process it in post without those issues.

Here's a test I did some time ago, downscaling an 8K clip to various resolutions then putting them on the same 4K timeline and uploading in 4K.
The shot at the end puts them all side-by-side for direct comparison.  There are differences, but even pixel peeing, they're pretty minimal.  If you're watching something rather than talking tech or doing tests, then it doesn't matter, plus if you add a bit of sharpening to a lower resolution file then it can easily make up small differences.
You're right that YT in 4K looks much higher quality than YT in 1080p, but it's a bitrate thing rather than resolution.

Yeah, I didn't realise that there was already a thread on it.  Let's use the other one.
Handy hint - if you use the + button to multi-quote and then browse to another thread you can quote posts from the original thread in the other one, should that make sense.

It's not a revolutionary camera, but it's very competitively priced, which I think is the main goal. I think they understand that there's a segment of their customers that won't shoot on anything that isn't full frame so this probably isn't going to hurt those sales anyway, at least not to the extent that it'd hurt more than they gain from bringing more people into their ecosystem with a camera like this. 
I really don't want to go with Sony, but getting 2 or 3 of these might be the direction I end up going. Though I have a Lumix S5 and quite like it I've never been someone that particularly cares about full frame, so "downgrading" doesn't really matter to me. The lack of video features that even the entry level S5 has is frustrating, though and might be enough to make me wait to see what Panasonic does. 

This is kinda ridiculous...
But I kinda, really want one.

I know... just look at America. 
Or the Brits... 😜
It's what makes the world both interesting a frustrating in equal measures!

The body layout is from the previous generation of cameras so it can either be an a7 III or a7r III (the only different thing would be the badge on the top left hand side of tha camera which is unfortunately covered in the shot). The lens is 100% a Sony G FE 90mm f2.8 Macro, you can tell by the big focus ring with clutch mechanism and the double distance scale in different colours (you can just about see the red marking is feet above the white one in meters) 😊

Lucky the camera industry is not French…
The cameras would have a styling circa 1950’s (not necessarily a bad thing) but would randomly go on strike, the manual could only be provided as a (thick) paper document (and you would have to apply in person 2 hours from your home and wait at least 6 weeks for it to arrive) plus would have a permanent whiff of garlic/gauloises in the hard bakerlite shell.
And only shoot B&W.
All models would be called ‘Le De Gaulle’ and we would currently be on the LDG7, the 7th model since the first as new models are released with marginal ‘upgrades’ every decade.

Interesting stuff.
Pulling out a few select faces to look at detail and skintones etc....  bearing in mind these are all very small in the frame so these are blown up quite significantly.
From 2:04


From 3:55


These are all excellent results!
Considering that the Prores tests of the iPhone 14 show that their implementation allows the Prores codec to do the best job yet of preserving the complete desecration that the iPhone performs on its image!

Interesting stuff.
Pulling out a few select faces to look at detail and skintones etc....  bearing in mind these are all very small in the frame so these are blown up quite significantly.
From 2:04


From 3:55


These are all excellent results!
Considering that the Prores tests of the iPhone 14 show that their implementation allows the Prores codec to do the best job yet of preserving the complete desecration that the iPhone performs on its image!

Hey, sounds great, but i am a troubled mind with a business to run, a house and a boat to keep up and a wife and little ones, Jesus. Hey, fuck it lets have a coffee then or go for a sail. I am still lusting over the bmpcc...

I would love to hear more about image quality, also compared to the Lumix S line. Lowlight and absolute dynamic range is a stellar feat of the S line. But cameras like bmmcc, bmcc have great motion, color, awesome color response i  grading. Motion with my bmmcc looks so beautiful, camera motion is top notch. Imagewise I often prefer my bmmcc over my S1, despite its much, much weaker lowlight and HD only compared to the 4k/6k S1.
Would to hear more from @deezid
how well gh6 fares compared to the Lumix S line. He was a great fan of the artefact free cinema worthy image of the full frame Panasonic cameras. And he didnt love the internal image from the Fuji xh2s.
Also @hyalinejim
would love to hear your observations. Still a great fan of your gh5 observations. @kye
like you i am seeing these kinda cameras as MF beauties. Side note I like the af for photo since my gf1. I got the blazingly fast 14mm now. Fun tiny lens, which was part of a large Gh4 package, with many Cmount lenes and adpaters snd more. I couldnt resist. 🙂 And Gh6 feels growingly tempting from film iq and usuabilty poinf of view. Btw gh6 even betters gh5s in lowlight, holds onto resolution and colour much better, as you can check out on youtube.
What i would like to see: S16 crop mode like the Gh5 has, Hd full sensor modes, S16 4to3 mode with full s16 width, 16 and 2/3 inch modes. Thank you! 🙂
 

Looks like Sony footage. The lens kind of makes it look like an RX10, but I'm guessing it's an A7 III/A7R III with some native lens I don't recognize
 

Judging by no flip-out screen, probably your average A7III.  It could be an A7II but the video looks too detailed to be the pixel-binned A7II 1080p footage.

Some kind of Sony with a G lens.

Everyone is entitled to their opinion, it would just be nice to have more than one or two comments in a row in a Panny thread that didn't talk about AF.
It's like in the entire world of film-making that nothing else exists.  It makes it so that nothing else can be discussed, doesn't add anything new to the discussion and just wastes everyones time.

I had one shortly but I fried it using a bad dummy battery to D-tap cable. I wasn't going to buy one again but I recently had the need for a small gimbal camera so once again I purchased the FP. This one has the tilt screen mode as well as a custom made SSD module, which makes it a super compact setup. 

Using the FP one of my big complaints was the lack of a tilt screen, so this new setup will address that as well as managing the somewhat awkward T5 ssd setup I had before. Dual ISO is very helpful, the color from the FP looks really nice after running it through resolve. It would definitely be nice if there was a way to color manage the dng footage in premiere. But hey it's a really inexpensive camera so I can't complain too much. 

That's an interesting comparison - not one I'd contemplated before, but makes sense.

That's an interesting comparison - not one I'd contemplated before, but makes sense.

I thought I'd resurrect this topic since I am still shooting on my trusty 5D3. Here's a frame from a web promo I shot last week...
 

I tried to edit my previous post to include this link, but couldn’t. Anyways here’s a link to Atomos posting myself using their products along with the Sigma fp. 
 
https://www.instagram.com/p/CQueIeYnFCn/?utm_medium=copy_link

TBH, I think this is probably well into the realm of diminishing returns.  
The way I see it is that there's stuff that happens before you colour grade and stuff that happens afterwards.  10-bit (or more) matters when you're capturing footage that you need to significantly alter in the colour grade (log, linear) but after it's in a 709 space I think it becomes far less important, unless you're capturing in a 709 profile and plan to heavily grade it after that.
I've found that there's essentially three groups when it comes to colour accuracy:
The general public, where there is zero guarantee of quality, adherence to standards, or consistency in what they're looking at.  They also (mostly) don't care, and most probably can't tell the difference between the colour of a Sony A72 and an Alexa. Professional colourists, where there is almost no limits to the degree of accuracy and the investment in minutia around this, and is often accompanied by a failure to understand the practicalities and compromises of the world.  Their clients are occasionally directors or producers who have some of the most refined taste and colour perception imaginable, so they are aspiring to be good enough for the worlds best.  They will argue to the death about things you've never heard of. Us practical folks in the middle trying to do what we can but without it being the entire universe that we live in.  We care so much more than the general public that they can't understand a word we say, and we care so little in comparison to the pros out there that we can't understand almost anything they say. If you've got a vaguely colour accurate monitor setup in a vaguely controlled environment then I think you're going above and beyond for what most of the audience really cares about.  For this, 8-bit monitoring is totally fine.