kye

Lots of good discussion on various aspects, but I think perhaps you're being a little unfair.
First reason is the Dual Gain sensor.  
The GH6 DGO sensor is what, the third ever released in a camera?  ARRI ALEV, then Canon DGO, and now GH6.
If you cast your mind back to before it was released and the speculation about what a potential GH6 might include, there were expectations that it would 'wow' and really stand out from the pack (or that it would need to), and I don't think anyone predicted a DGO sensor.  I suspect I might have mentioned it, but if I did it would have been a passing fantasy rather than a real prediction.  It was more than anyone could even think of to ask for.  and then it arrived in a GH camera.
Why isn't this simply blowing away everyone?  Unfortunately, the DR from it just doesn't seem to wow.
I think there's a few reasons for this.  One is that an MFT sensor has an outright disadvantage in terms of light-gathering ability over S35 and FF through physical size (two stops compared to FF and one compared to S35), but even beyond that, the DR measurements just aren't that impressive, compared to single-gain sensors.  I wonder if the GH6 sensor has been in the pipeline for so long that it's a DGO implementation of an older technology?  Regardless, with it's two-stop light-gathering disadvantage from FF, it didn't rocket to the top of the DR test charts, and that's what people want right, "best ever" headlines - not "best ever (in it's class and taking into account blah blah blah)" headlines.
I must admit I'm a little disappointed by its measured DR, especially considering the original S35 ALEV sensor only has one stop of light advantage but has well over one stop of DR, plus it's decade-old tech at this point.
I also think we haven't seen enough stuff from this to truly understand what this looks like when pushed to its full potential.  GH6 footage is actually pretty thin on the ground, and the meticulously crafted footage (like we all refer to when talking about other cameras) is even rarer still.
Second reason is that the GH line is an all-rounder, which is difficult in itself.
Lots of competitors do a few things well, and a few things really really badly.  The GH line doesn't really have an achilles-heel, and before you say "autofocus" think again - the AF on the GH6 is actually very respectable, it's just not world-class.
If most cameras reallocated awesomeness from their killer-features to their weaknesses, their killer features wouldn't be killer anymore.  It's like there's only so many awesome points that a camera can have, and it has to choose which features to put them into and which to sacrifice.  The GH line has prioritised not having huge flaws rather than having headline features.
Some examples.
P4K - stepping right over the fact it's a cinema camera and automatically lacks about half the features of the GH6, it's huge and butt-ugly, it's AF isn't even continuous, and has no stabilisation at all.  
Take the P4K, and think how much extra it would cost to make it a sensible forum-factor, give it functional C-AF, add IBIS, and then, you know, make it a stills camera too.  The P4K is literally half the features of a GH6, with a few extra advantages.  Sure, it can shoot RAW internally, but if you add an external recorder to the GH6 you get an articulating screen and it's almost still smaller!
FP - I really want to love the FP but it's also sort of half-baked like the GH6 is.  It makes you choose between uncompressed RAW (which is absolutely huge compared to compressed formats - this adds to the cost of media and add post-processing time which I'd prefer to avoid) and its internally compressed formats that are so lacklustre they kind of negate the benefits of choosing the camera at all.  Sure, you can go external and record prores or compressed RAW of your preferred flavour, but you've added almost another $1000 (with cage, recorder, its own batteries and charging requirements, cables, etc) and now you don't have something comparable in form-factor.  Also, because the FP doesn't have stabilisation, you'll need to buy stabilised lenses if you want that feature, and with the L-mount that's either adapters or pretty-pricey and limited glass.  
B&H list two L-mount FF lenses with IS under $1000, but they list 9 in EF mount, one is under $500.  So not only does "adding stabilisation" mean you become very limited in choosing the lenses you can to use, but it puts a $500 fee on top.  I know - I've been looking!
Panasonics FF cameras are also less polished.  The S5 doesn't have an ALL-I codec (let alone Prores).  I've heard that the lower resolution modes aren't nicely downsampled from the full frame sensors.  For a comparison, the GH5 will downsample the full sensor for all resolutions, all frame rates, and all levels of digital zoom.  I shoot in 1080p ALL-I codec, in both 24p and 60p, and using 1x and 2x digital zoom, and every combination is downsampled beautifully.  As far as I'm aware, none of the Panasonic FF cameras can do that, even the S1H which is almost double the price of the GH6 and a behemoth physically.
Thirdly, some features aren't measurable (or simply aren't measured)
Stabilisation is one of these.  We all know that stabilisation is measured in stops, but this is only half of the picture.  The "stops" is a measure of the reduction in movement that's provided by the camera when given some shake that's within its range.  
To put its 7.5 stops into perspective, it's a factor of 181.  So if you jiggled the camera horizontally by 181 pixels, the IBIS would stabilise that so that the movement was within a single pixel - ie, zero blur.  It does this by moving the sensor, and the stops is the measure of how accurately the sensor can compensate for the shake.  The other variable is how far the sensor can move, and this is the one that no-one ever tests, but it's the one that's more important.  
The reason that travel is more important is that once you shake the camera by more than the amount its IBIS motors can move, you go from having a 7.5 stop stabilisation to a 0-stop reduction.  The GH5 stabilisation was beloved by all because of how far it could move, not by how much it reduced the vibration when it was within range (which was similar to OIS lenses).  MFT has an inherent advantage in this sense, but there's no way to really know how much this is in play in reality because no-one tests it.  I would imagine that FF sensors have gotten better at this, but I max out the GH5 IBIS regularly, and I suspect others do as well otherwise they wouldn't have praised the IBIS back in 2017, so the last thing I want is less stabilisation!
People love to compare the strengths of cameras, but when you start comparing the weaknesses, the GH6 actually does pretty well, because most features aren't so weak that they're worth talking about, or are overblown.  I mean, what are the weaknesses of the GH6?
It's AF isn't the best in the world - well sure but it beats the living crap out of every AFS and non-AF camera ever made, which until the last 5 years was basically every camera The base ISO of 2000 for the DR boost mode is high - it's 1.3 stops higher than ISO 800 which is the common base ISO for millions of cameras Its battery life is about an hour (I've heard people say 80 minutes of record time) - what was the battery life of the P4K and P6K cameras again?  I've forgotten. It's expensive and large for an MFT camera - actually it's pretty small when you consider its got a fan, tilt/flip screen, EVF, records to a very high bitrate professional codec internally, IBIS, and a flag-ship number of knobs and buttons It also has this streaking issue that definitely isn't acceptable but I suspect will get sorted in firmware, and it also hasn't gotten the promised update to implement Prores in 4K and 1080p (which I suspect will also come with higher quality downsampling in those resolutions) and the USB recording.

Yeah, that stood out to me as a real advantage in my imperfect real-world shooting.  I've previously found the grain on the GH5 150Mbps 4K mode to be pretty good at higher ISOs as well.
The noise on the R5C doesn't seem as nice - and that banding wasn't at all aesthetically neutral!

I really hope that once you guys have figured it out you'll post a summary...   you lost me a few pages ago!

German testsite Slashcam. Very amazed, by the fact that the GH6 performed equally well as the R5C regarding dynamic range.
Here is a translation from their 5RC review, regarding the GH6 surprised them.:
"What's really amazing, however, is how well the winner from our last MFT dynamic showdown does: The Panasonic GH6 with Dynamic Boost can "only" come up with 6K, but otherwise delivers a thoroughly equal dynamic range. We will try to present you with more dynamic range comparisons in the next few weeks, which will hopefully result in a more differentiated picture of the current camera market."
 
 
 

I just did a musicvideo with the GH5 and S1. Guess what, GH5 was ACam.
That´s because I could rent it in a package with four batteries, Speedbooster XL, perfect cage, with rods, handle, lenssupport, the perfect mini cinema cam. Love this package. I don´t need a shoulderrig and my handheld camerawork is still fine and fitting, as I treat the camera a serious tool and I respect it. My S1 was BCam with only one battery but the spiffy FD to L-mount adapter from cieco7. I am just too stingy to invest in other extra stuff for this camera, because I am still not fond of the tilt screen mechanism, though screen and its ruggyness is fantastic.
In this video it´s both cameras together. And guess what, I love them both and would love to buy a GH6. With Prores and its creamier cinematic image, sensor readout, TC, GH- line ergos and menues it would be a no brainer for me. Putting down cameras is very different from objecting to them. But sometimes we get lost and negative about the certain lacks about in some cameras rather than concentrating on their strengths.
One general thing I would appreciate, if people become more appreciative about the mft system again! It´s a fantastic system!
I mean, a Lumix G9 or GH5, two six year old cameras, can still put out a highend image. VLog L and VLog in lit situations with that slim 150mbit 10bit codec and at blue/Golden Hour, beautiful.
And, like our friend @newfoundmass, I am a great fan of MFT and happy that our friend @webrunner5 is back, as well that I would also love our other kids to join in more again. This forum used to be about what people do with affordable gear. So if GH6 is too expensive, there is still a sub 900 dollar production work powerhouse, the GH5. @kye has been a great fan of the perfect All Intra HD. It made me happy to read about his opinion about it when he started his deep observations of the camera. 
So here is the video. Both cameras were fantastic! GH5 and VLog, both in their economic but strong 10bit 4K codecs. The performed perfectly as A and BCam, like I said GH5 was A was various reasons. Image to me is flawless with VLog L and Vlog performing beautifully in lit situation and Golden Hour, which I shot this video at. I did the directing, dp-ing, lights, editing and super quick grade. Was the typical onemanband thing. But even with a budget for a crew I might have chosen these cameras. If you are interested I could do a breakdown on lensing and cam choice in a different thread. Some dolly work included as well.
cheers
 
 
 
 
 

I'm probably the last person who should contribute to this conversation. The last time I bought a new camera was over 5 years ago and the camera was released 5 years before that.
With that said, I think the GH6 is the best camera on the market right now. Internal 5.7K ProRes with IBIS, 4 channels of audio, etc...
I mean it's $2200! For internal ProRes and an image that comes damn close to the Red Komodo. I wish Panasonic could extend that ProRes license to one of their cheaper m4/3 cameras... maybe a 2K ProRes camera at half the price... that would be a genius move.
And with that said, I do prefer full frame. I like using vintage lenses and not have to do math every time I decide what lens to use... especially since you need a speedbooster to get the most from the lens.
And with that said... I'm cheap and I know what I need. I have a camera that works perfectly fine. I don't need 6K. I doubt anyone in the prosumer market does. So I'd wait for a big sale or to see when they release their ProRes FW. But man... the GH6 is a pretty special camera.
Sure you can get a P4K for $1299, but you're adding a lot of money to make it workable and it's a huge beast of an ugly camera.

Blackmagic have just updated their Video Assist to record Braw from the Leica SL2-S - anyone here able to test it? I'm very curious.
Update page: https://www.blackmagicdesign.com/support/readme/5939d7b7a4ab432598476c0bbefc8116

I came across a free leveler that is worth checking out (if you are on Windows.)
https://luveler.blogspot.com/
It really has a great natural sound that reinterprets the dynamics to make it more natural sounding even if you only changing a the volume slightly. I am following a multiband compressor on the master bus and the make he compressor sound more natural. I have a feeling this is going to be a secret weapon of short as it can really reframe the dynamic response of a track or mix for the better.
Thomas also makes Loudmax, which is a free limiter that runs on both Windows and Mac.
https://loudmax.blogspot.com/
Both are worth checking out.

Good old Levelator! I use to wish they'd turn it into a VST. I *think* I've gotten good enough at audio that I don't need to anymore, but back in the day it I thought it was voodoo the way it'd make things sound. 

https://www.videohelp.com/software/The-Levelator
This is a great free bit of software that I always run my final audio mix through - don't know exactly what it does but it comes out sounding better every time

I thought the topic was "things you can buy".
....but if you must limit it to film things, the best double feature I have ever seen was Clueless and Clockers.  A true pairing, if ever there was one.

Lenses are generally cheaper than their full frame counterparts. They're also smaller, as I stated earlier. Even buying third party FF lenses you'd still spend less on the M43 versions. Are they at fast as their FF counterparts? No, but that's not the most important thing for a lot of people 
I believe that the M43 system, particularly Panasonic, needs to improve in order for the system to continue. I'm uneasy about Panasonic's long term success because of the AF and how important it is to the market, even if it's not the most important thing to me. But people have proclaiming M43's death since before the GH4. 
The bodies do. The lenses, especially the zooms, are a different story. A GH6 body with battery, memory card and 12-35mm lense weighs 1,128 g. The A7IV with battery, memory card, and 24-70mm is 1,544. 
It's the same story with the other zooms, too. In fact the size gap grows significantly. A 70-200mm FF lense alone weighs about the same as a GH6 with a 35-100mm.
I mean, it depends on the user. In video? All of those things have workarounds on M43. Low light? Add more light. The lenses all auto focus pretty quickly on systems with good AF. The GH6 has the same MP count as many full frame cameras doesn't it? You can get nice DOF. Photography? Low light isn't as big of an issue. Auto focus works great. MP? Both Panny and Olympus have added high resolution modes. Have you seen the 100mp images the GH6 can produce? Incredible stuff. And the stabilization can't be beat. 
M43 isn't for you. That's OK. 

Me talking about the same thing over and over again, coming from you you can't be serious! They won't for the average person, what the hell you even going to view it on? You going to watch it on half your TV screen?

Agreed.  
Film-making is so personal / contextual, which is why a great plethora of various cameras and related equipment abounds.
I see pros and cons to the various sensor sizes, everything from 2/3" in smartphones to FF and beyond.  The challenge is getting something that best fits your unique needs and preferences.
Fair enough.  We all have individual preferences.
Not exactly sure why you're commenting this over and over again though?  I'm not in the anamorphic lens threads saying how I'll never buy an anamorphic lens - it wouldn't accomplish anything.

Double cheeseburger

 

If you pick up an M to L adapter then it opens up a lot of affordable compact M mount options that will cover full frame.
These are from the sub $250 7Artisans 35mm f2 on my FP.

It adds minimally to the weight and size when on the FP even with the adapter.

 

Sherif, who has worked with Panasonic for years and was hired by them to make GH3 and GH4 videos for promotional purposes, seemed really disappointed with Panasonic's response. For those that didn't watch, Panasonic indicated to him that they were satisfied with the performance. That's not to say they won't try to improve it in the future (my words, not his), but I too am disappointed by that response. Panasonic has always felt like the company that listens and cares about their users (except for autofocus lol.) They absolutely should not be satisfied with this performance. 
 
There are still advantages to M43, and it does have a dedicated user base. As much as I like my new S5, I really appreciate how compact my M43 kit is even more. I think we'll continue to see a slowdown in releases compared to 2014-2017, but I think we'll still see more M43 cameras down the road. 

Meant to say I have not seen it. Though I confusing streaking with noise banding which aren't the same thing. The worst camera I have noticed streaking on is the C300 MK2, to the point where I probably wouldn't use it.

I shot a window situation like shown in that video above with the Sigma FP and didn't see any streaking though.

I don't really care about them being compatible with the GH5. You shouldn't have to use external solutions to get longer than an hour record time, especially when one of the hallmarks of the GH series has been excellent battery life. It's a very legitimate gripe. 
 

Feel that ARRI would have liked to have released their S35 4K camera a lot earlier if they could have. And that the ALEXA LF and Mini LF were simply stop gap measures aimed to stem the losses of productions switching over to RED/Sony/Panasonic because they had true 4K cameras and ARRI didn't.
I thought they were ready to go with their plans for a new S35 4K for last year or even the year before? As I remember ages ago, ARRI put out an announcement that it will be "next year".
But I presume covid and other hiccups has put their release plans on ice for a little while ago. 
 

Yeah wedding guests have totally different standards/expectations than what even a random small business owner for a small corporate video will have in mind. 
There is a saying in politics:
"explaining is losing"
Is true in a lot of other areas of life too. 
  
Finally, a job for me!

omg that looks so good

Let's play then... my favoritess:

 

Double cheeseburger

 

Double cheeseburger