kye

Here are some 100% scale details from this frame.

Thanks! Those streaks are from the star-filter that we used (for both pool, concert and club scene)
 
We took the Ferrari for a little spin!

This is a decent point actually, but the GH5 native ISO for V-log is *optimal* rather than compulsory.  You can expose below it and take a slight DR hit.  Whereas the GH6 ISO 2000 requirement is a *minimum* for DR Boost, and if you want to expose at a lower gain setting you take a huge hit by switching to non-boost.

I would just buy one of the small, hang on the front, square ND filter kits, better imagine quality than the normal round ones you rotate.
But here is a link to some 10 stop ones.
https://www.bing.com/images/search?q=10+Stop+ND+Filter&mmreqh=j0CfJ0Fwp83qpW81Hgxz6IAPfyzeqWC9OW%2bKcHvJyW4%3d&form=INLIRS
 
 

There’s a way to get downsampled FHD on the S series by using the live cropping mode but set the cropping to the full sensor. It’s only FF 30fps or APS-C 60fps though. Still, much better FHD quality than the regular FHD modes.

The 2x digital zoom is something I am really missing on my Lumix S1. There is only Full Sensor readout and then two crops for APS-C and a pixel to pixel readout. Last one is for HD only of course. 2x digital HD with potential for downsampling from 3k would have been pretty sweet, also for 4 to 3 formats. 2x crop works for my humble GX85 both in 16 to 9, 1 to 1 and 4 to 3 aspect ratios, latter two in 4K photomode. But none of that is in the S1. Menues are overkill too, despite missing this dear feature.
Hope the GH6 has a menu structure rather like the GH5 but I doubt that
Perfect HD, that´s also something the GH5 stands for and kye has been promoting a great deal. Something I really loved about the GH5 when using it.

In addition to the above, one thing I saw recently (can't remember where though!) was that someone was shooting film and wanted to have much lower saturation skies instead of bright-blue skies, so they overexposed the film and then developed it darker to normalise the exposure.
This gives much less saturated skies as it pushed all the highlights up into the highlight rolloff where there's much less difference between the R G and B levels, and thus less saturation.  The skies were a pale blue rather than saturated and it gave a kind of look to the skies vaguely reminiscent of the bleach-bypass look.
That's also the kind of thing you can do with a Film Emulation LUT - raise the levels beforehand and then lower them afterwards and see the effects.

I think it was the combination of the screen and the fan.  
I'm super happy with it as it's not too much larger and it's not larger from the front, which is what matters from the perspective of shooting in public and not gathering too much attention.  By the time you put a lens on a camera, then depth of it is huge so a few extra mm isn't a big deal.
My suggestion is to start with how and where you shoot and work backwards.  For events you'll probably be valuing flexibility over other performance, so you're probably talking about zooms.
Then the question comes of how much you care about having a long zoom range vs having a faster aperture.  At one extreme you've got the 12-35mm F2.8 which is the fastest but shortest zoom, then things like the 12-60mm F2.8-4, then all the way to 12-100mm F4 and even the 12-200mm F3.5-6.3.
I don't shoot events but my understanding is that mostly there is decent light, and many here have commented that the longer zooms work best because you're always just a zoom adjustment away from the shot.  Especially with the improved low-light from the GH6.

Makes sense.
That means that 3 extra stops of ND are required between modes, but would someone really be swapping between them?
Most likely someone would already own a different camera and have the NDs setup for that, so it would be dependent on the ISO they currently shoot in, wouldn't it?
You're the first other person I know that shoots 1080p and uses the 2x digital zoom to get a downsampled 1080p from the ~2.5K middle part of the sensor.  The quality is so nice and the 2X is so handy that my lens collection has evolved to make full utilisation of those, by having a 17.5mm as my default lens which gives a 35mm FFE FOV and a 70mm FFE FOV from the same lens with just a button press.

Makes sense.
That means that 3 extra stops of ND are required between modes, but would someone really be swapping between them?
Most likely someone would already own a different camera and have the NDs setup for that, so it would be dependent on the ISO they currently shoot in, wouldn't it?
You're the first other person I know that shoots 1080p and uses the 2x digital zoom to get a downsampled 1080p from the ~2.5K middle part of the sensor.  The quality is so nice and the 2X is so handy that my lens collection has evolved to make full utilisation of those, by having a 17.5mm as my default lens which gives a 35mm FFE FOV and a 70mm FFE FOV from the same lens with just a button press.

Well as someone that has worked for around 63 years in my lifetime back in the day of the many different jobs I have worked at very few people other than a few at the top knew much about anything. And since the majority didn't know much, it was planned that way, how many at the top knew much either lol.
 So things now are lot different, you have the opportunity to basically learn anything. So is that a blessing or a curse? I think it is more of a curse. Now everyone doubts everything and everyone, and most still don't know shit lol.

Anyone found any good Vari NDs that can handle 10+ stops? I use an SLR Magic on GH5. It maxes out at 6 but doesn't introduce any significant colour shifts that I've noticed. 
I'm also wondering about 1080p land, as that's where I'm very happy.
1. Will 1080p be as artifact free (moire, aliasing, softness) as GH5 is?
2. Will we be able to do some sweet EX Tele in 1080p? This is a godsend for run and gun or events. No need to change lens (and ND filter!). Hypothetically we should be able to get to 2x downsampled centre crop of 4k. This means I could live with one speedboosted 24-70 f2.8 lens on the camera for 95% of the time (effective equivalent range of 30 to 180mm with a 0.64x booster)

From official specs it looks like 100 is base ISO for regular profiles:
[Normal]
Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800
Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800

[V-Log]
Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800
Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

[Hybrid Log Gamma]
Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800
Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800
 

Patent of electronic nd filter is expired in january 2022 (patent holder- Forza silicon)
Can we see more cinema cameras with electronic nd filter in the future?🤷‍♂️

The older I get the more I realise that people seem to operate without much consideration (or often knowledge) of history and the broader context.
Changing your mind on a subject you've already expressed a position on also requires admitting you were wrong, which seems to be an unacceptable cost in many cases too.  
The human condition is a strange thing!

Yep, GH5 ALL-I is night and day compared to IPB for workflow. Very robust. 
Another poster mentioned ProRes being a standard. That’s it. I can’t count how many times I’ve been asked for ProRes files for both acquisition and delivery. 
Sometimes if there’s been a screw up with card space - I’ll shoot to H265 and transcode to ProRes later for workflow efficiency. I know full well the image quality trade off is incredibly incremental, so it doesn’t bother me if it means getting the footage shot. 
These ProRes critics are not to be listened to. They likely do not have the experience of working in certain environments where efficiency is paramount. It’s also another reason why most commercial video production companies don’t shoot RAW. 

Hi,
Just wanted to share my latest work which I produced and directed; a music video for Kygo ft. DNCE (Joe Jonas). It’s shot on Arri Mini + Arri Mini LF with Kowa anamorphic glass. I’ve been on this forum since I bought my (now retired) GH4 8 years ago.
Thought some of you might find it interesting ☺️
 
 

What about the 4K120fps that everyone needs so badly lately for “cinematic“ b-roll? And the 5.7K so you can too be a real YouTuber and influencer as well as be able to be lazy with your composition?
 
I kid, I kid! 😁

I wonder how many of these ProRes commentators work in a professional environment? 
Although it is better for grading than more compressed H2 or Long GOP codecs, ProRes isn’t really about image quality. It’s down to workflow. It’s substantially much, much smoother to work with compared to other codecs. Especially in FCP. This is invaluable when there’s a business to run as efficiently as possible. 
If you can shoot ProRes and you’re running a business - you should. Because it’s “old”, doesn’t make it worse. Look at the Arri Alexa. 
I’ve found XAVC-I and other infra-frame codecs to be close in performance and also great for professional workflows. Just not quite as smooth as ProRes, but very close. 
H2’s and Long GOP’s are quite smooth on M1 Macs, but not perfect. Fine for a lot of smaller projects and saving space. 

Canon have great image processing imo. Among the best h26x compression. The image always remains organic, not over sharpened or denoised.  The 10-bit h26x files from R3/R5/R6 are really nice and the chunky 410mbps XF-AVC on R5C/C70 even better. Of course they also do internal RAW which is fantastic.
ProRes is really that intermediate codec between RAW & h26x.
Other than being a pro standard with consistent flavours, its true that historical benefit was always the low-compression intraframe encoding allowing excellent scrubbing for editing. 10-bit h265 for example is a complete no-go on intel Macs. Not really an issue with +M1 silicon anymore. But still, it's nice to know that ProRes will run perfectly smooth on any editing machine, even quite dated ones.
But on pure IQ level, nothing beats RAW and now with internal 12-bit compressed RAW like BRAW or Canon Raw Light, which have very efficient bitrates it's the way to go in-cam if you want max flexibility and IQ. 
Getting back to GH6, Cined best describes the difference:
So, you actually have a nice choice here: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But looking at the noise floor in the waveform plot it seems that it also has a lot more noise processing going on internally which cannot be turned “OFF”.

But I will add with the advent of Run N Gun, or in layman's terms just walking around for a long time filming changing NDs would look pretty goofy compared to changing aperture.  Using variable NDs sort of only works when you are setting up a shot and then you stop to set up another when conditions change.
It looks pretty lame to see a filter wheel turning during a shot! 😬 I still usually shoot in very short bursts then relocate. Lots of editing that way lol.

In the daytime, outdoors you really don't need to change ND settings very often unless you are in a forest coming to the beach! And with high end Cine cameras and ENG cameras you have had to Always fuss with NDs.
They are the best thing that ever happened. You Have to have them to maintain a constant shutter speed, ergo shutter angle. Changing aperture all over the place is not very desirable in video.

I must admit, I'm not that surprised that a bunch of folks on a forum don't understand the market as much as they think they do!
Still, it bodes well for both OM and also the MFT system in general, which by extension is good for all consumers as it encourages competition.  As much as FF enthusiasts are quick to point out that FF is now a serious competitor to MFT in specs, I wonder if it wasn't for the MFT manufacturers pushing things forward if FF would be nearly as advanced now as it is.

DO NOT EVER THROW AWAY A WELL REGARDED LENS WITH GOOD GLASS IN IT!!!
Seriously, I'm on the VLFV Facebook group and there are people constantly on the lookout for vintage lenses to re-house, and if it's a classic zoom then that may include those models too.
Even if the front element is scrap there's probably another copy somewhere else where the rear element is scrap and together they'd made a great finished lens.
These things aren't being made any more and are only going to get rarer.  As the price of Leica R and CZ sets go through the roof people are talking about other lens lines more and more, eventually they'll get around to EF and zooms I'd imagine.
Cool test - thanks for posting.
If acting ability was critical for lens tests then I'd be sitting at my desk looking worried and compulsively drinking coffee too!!
Especially considering that it looked like espresso shots with every sip being a bottoms-up situation!

The kind folks at CineD report (from their testing) that the two base ISOs for the GH6 are 250 and 2000. The difference between those values is, conveniently (i.e. no fractions), 3-stops (250>500>1000>2000). So I would think the easiest field practice would be to dial in one's exposure settings at ISO 250, slap on a 3-stop ND, and up the ISO to 2000 to put the camera in wide dynamic range mode. No math worries there. 🙂
Of course, a camera using Panasonic's own organic sensor with its reported built-in voltage-controlled variable-ND that maybe-will automatically-compensate the internal-ND for ISO-changes to maintain-EV-settings would be super...but >cough< they decided not to put that sensor in this camera. 😉 Maybe they're planning something "truly big" for the Lumix 30th anniversary in 2031?! Ha!