kye

The GX85 is the next challenge.
For Priority 1 it needs to be kept handy and accessible.  This means either being kept in-the-hand or kept in a pocket - keeping it in a bag adds access time unless the bag is on the front of my chest.  Both of these mean that the rig has to be kept as small as possible, which essentially boils down to lens choice.
The 14mm f2.5 lens is an absolute gem in this regard.  In the 4K mode (which has a 10% crop into the sensor) it's got a 30.8mm equivalent FOV.  I edit and deliver in 1080p, like all sensible people in the real world who haven't confused their ass for their elbow do, and so I can also use the 2x digital crop feature, which gives a 61.6mm equivalent FOV.  These two FOVs are hugely handy for showing people interacting with the environment around them - environmental portraits.
It also has good low-light, good close-focus distance, and has a bit of background defocus if the subject is close.
I have the GX85 configured with back-button focus.  This means that I hold down a button on the back when I want to engage AF and hitting the shutter button doesn't engage it.  This works brilliantly in practice as it means that I can focus once for a scene and then shoot without having to wait for the camera to AF.  I also have the viewfinder set to B&W and have focus peaking enabled in red, making it easily visible.  The histogram is also really handy to know what is going on too.
For Priority 2, this setup works well - the tilt-screen is great, AF is super-fast, IBIS is impressive and very functional, and I find using it in real-world situations to be easy, fast, and very low-friction.  It still gets some attention, but it's not excessive.
I find that for most shots I want to stop down to ensure that everything is in focus.  This is because my work is about the subjects experiencing the location and the interactions that are going on.  A nice portrait with a blurred-beyond-recognition serves very little purpose as it could have been shot anywhere at any time and therefore has no relevance.  This lens can give a satisfying amount of background defocus for mid-shots if required, and especially for macro shots, which are occasionally relevant in an edit.
Here are a few grabs SOOC.  
In grading I would typically lower the shadows to the point where the contrast is consistent (assuming it makes sense for the scene - lots of these have haze which you have to treat differently) and I would even out the levels of saturation etc.  I'd also sharpen or soften images to even out the perceptual sharpness too.
Interestingly enough, most of these images have enough DR, and even have elevated shadows, despite the camera not having a log profile.










These provide a really solid foundation to grade from.

Because I'm a cheapskate who is recycling his 5D Mk II era EF glass on the latest and greatest Panasonic body thanks to the wonderful Sigma MC21 adapter, I can't take advantage of in-body camera corrections for things like vignetting and lens distortion. And sometimes I would like to do that. It's a lot of fun using the phase detect AF in the S5II to shoot wide open and get in-focus footage with my Canon nifty fifty. But wide open, that lens has something like 2.4 stops of vignetting. That can look really cool sometimes but other times it's not. I first noticed it when editing some interview footage shot against a plain white wall. I wanted to do a little bit of reframing and it looked kind of bad because of the heavy vignetting.
I know there are effects that attempt to add or remove vignetting, but I was interested to see if there's a way to do it perfectly, as you can when shooting RAW and using Lightroom. And there is!
First of all, I put a semi-opaque piece of white plastic over the lens, focused it to infinity, set the aperture to wide open, pointed it at the sky and did a manual white balance. The aim here, in terms of exposure is to get the brightest part of the image (the exact centre) at exactly 50 IRE. Or you can use ACES to make a linear change to the data to get it looking like this:


Then desaturate it, invert it and export as a 16 bit TIFF or similar.
Place this image file on a layer above your footage. Change blending mode to Linear Light and Opacity to 50%. Hey, presto! Bye bye, vignetting!

(Note: doing this in ACES linear gives perfect results, but it works pretty well in log Rec709 too - the center needs to be 50% IRE in both methods)
This is how it looks on real world footage.
Before:

After:

 
Obviously, this isn't as convenient as doing it in camera as you would need a different vignetting profile for each f stop. But it will allow you to finally shoot your Nocticron f0.95 or whatever wide open without that pesky vignetting! I'm not quite as flush as all that, but I'm quite pleased that my old Canon plastic fantastic that I had in a drawer behaves a little more like Panasonic's version which costs 4 times the price. And a simple Lens Distortion filter at -2 knocks back the distortion. Now if only there was a way of making the focus motor perfectly silent...

Ha ha! Even 6 is enough for most uses. During lockdown, to give myself a project I bought a few 300Ds and 400Ds on eBay and sent them around the country, asking people to take self portraits which I then edited.

Even the 14-42mm PZ is really compact when not in use and it's very cheap. That small extra tele could be useful too. There's even a cheaper rebranded version on Aliexpress.

The GX85 is the next challenge.
For Priority 1 it needs to be kept handy and accessible.  This means either being kept in-the-hand or kept in a pocket - keeping it in a bag adds access time unless the bag is on the front of my chest.  Both of these mean that the rig has to be kept as small as possible, which essentially boils down to lens choice.
The 14mm f2.5 lens is an absolute gem in this regard.  In the 4K mode (which has a 10% crop into the sensor) it's got a 30.8mm equivalent FOV.  I edit and deliver in 1080p, like all sensible people in the real world who haven't confused their ass for their elbow do, and so I can also use the 2x digital crop feature, which gives a 61.6mm equivalent FOV.  These two FOVs are hugely handy for showing people interacting with the environment around them - environmental portraits.
It also has good low-light, good close-focus distance, and has a bit of background defocus if the subject is close.
I have the GX85 configured with back-button focus.  This means that I hold down a button on the back when I want to engage AF and hitting the shutter button doesn't engage it.  This works brilliantly in practice as it means that I can focus once for a scene and then shoot without having to wait for the camera to AF.  I also have the viewfinder set to B&W and have focus peaking enabled in red, making it easily visible.  The histogram is also really handy to know what is going on too.
For Priority 2, this setup works well - the tilt-screen is great, AF is super-fast, IBIS is impressive and very functional, and I find using it in real-world situations to be easy, fast, and very low-friction.  It still gets some attention, but it's not excessive.
I find that for most shots I want to stop down to ensure that everything is in focus.  This is because my work is about the subjects experiencing the location and the interactions that are going on.  A nice portrait with a blurred-beyond-recognition serves very little purpose as it could have been shot anywhere at any time and therefore has no relevance.  This lens can give a satisfying amount of background defocus for mid-shots if required, and especially for macro shots, which are occasionally relevant in an edit.
Here are a few grabs SOOC.  
In grading I would typically lower the shadows to the point where the contrast is consistent (assuming it makes sense for the scene - lots of these have haze which you have to treat differently) and I would even out the levels of saturation etc.  I'd also sharpen or soften images to even out the perceptual sharpness too.
Interestingly enough, most of these images have enough DR, and even have elevated shadows, despite the camera not having a log profile.










These provide a really solid foundation to grade from.

It is a shame, but the fact that it's a 709-style profile seriously helps out the 8-bit.  If it was an 8-bit log profile then you'd be stretching it for a 709 grade, but this isn't the case with these cameras.
The iPhone is a 709-style profile and is 10-bit.  That's (very-roughly) equivalent to a 12-bit log profile..  very nice!
The more I use the GX85, the less I find it wanting TBH.
In some ways this would be a good option, but I really really appreciate the smaller size of the 14mm and the 12-32mm (at least when it's not in-use).
I found that I would "palm" the camera when carrying it around:

This really helped me not attract un-due attention and protected the camera from bumps in crowds etc, but kept it at the ready when needed.  I could do this with a longer lens but it makes it significantly larger, and makes pocketing it a lot more challenging.
I wouldn't really miss the room range above 32mm, as that's 70.4mm FFequiv when combined with the 2.2x crop-factor of the GX85s 4K mode, when walking around, as I edit in 1080p and could punch-in to 141mm FFequiv.  When I was using the 14mm f2.5 I punched in using the 2x digital-zoom all the time and didn't notice any loss of image quality at all.  Maybe there would be a small loss in low-light but I never noticed it in the final footage where there wasn't a direct A/B.
The GX85 only has a 1.1x crop into the sensor for the 4K mode, and the 1080p mode doesn't have any crop at all.  I haven't really experimented with the 1080p modes TBH as I wanted the 100Mbps bitrate of the 4K mode.  
I do wonder how much would be supported if we had full access to all the modes supported by the chip.  Obviously the chip in the GX85 can support being given a 4K read-out, can apply a colour profile and do whatever NR and sharpening is done to a 4K file, and can compress a 4K output file at 100Mbps.  To imagine that it might be able to compress a 1080p image at 100Mbps isn't that far-fetched.  Who knows what else might be available on the chip.  ALL-I codecs, 10-bit, etc.

I'm into the edit from my last trip.
Putting everything on the timeline results in a 5h22m sequence.  Resolve interprets still images as a single frame, so they aren't padding out the edit time.  My first pass, where I pull in just the good bits of the clips got it down to 1h35m.  
The way I edit is to use markers to separate locations and sequences within a location, which lets me organise the footage (Resolve isn't great if you're shooting on multiple cameras without timecode, so things are often out-of-order).  For example, we went to an aquarium and saw the otters getting fed, saw the sharks getting fed, etc.  In a sense, each of these is like a little story, and for each one I have to establish the scene, then have some sort of progression in the sequence that addresses the "who was there", "what did they do", and "what happened" sort of questions.
I've identified over 40 location markers and over 40 sequence markers within those locations.  Some locations only had one sequence, but others were full day-trips and had a dozen seperate sequences.  That's over 80 stories!
My next steps are to work out which stories get cut completely, then to confirm the overall style of the edit.  My challenge is always how to get from one location to another and establish the change.  I typically shoot lots of clips when walking, on buses / trains / taxis, etc for this purpose.
As it was South Korea, known for K-pop, K-dramas, and the super-Kute things (their reality TV has lots of overlays like question-marks when people are confused or exploding emojis when people are surprised), I'm contemplating a super-cute style with lots of overlays, perhaps using animated title-cards that show where we are and what we're doing.  This would be an alternative style of establishing the location.  I could even have little pics of who was there (sometimes the kids came with us and sometimes not).
Then I'll identify the best shots from each sequence, which other shots are required to tell the story, and then cull the rest. Normally that shrinks the timeline significantly again.

Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic.
Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above.
I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

Did you try adding “Cinematic vs iPhone vs ARRI vs Full Frame smash that like button buy my LUT that I created with ChatGPT should you still buy this vintage one year old camera in 2023” to your search term ?
A lot of stuff gets lost because people are trying to create titles that incorporate the phrases du jour that they hope will get them up the search rankings.
“Avoid these five scams when using the GH6 for stealth van life with otters” etc
From what I’ve seen, the “GH6 vs xyz” is the richest seam to mine as at least you get comparative stuff against known entities like the P4K etc.

With one-handed cameras are you now taking stills and video of the same moment simultaneously?  I only do video but often feel the desire to be getting multiple FOVs simultaneously (beyond what the tech can do with cropping in post).  
Just a week ago I was on a pier at night taking shots of the waterfront buildings and their reflections in the water when the people just near me started letting off a small hand-held firework, which was juuuuuust too wide a shot to fit into the frame on the GX85 + 14mm combo I was shooting with (~30mm equivalent), so while continuing to record with the GX85 I pulled out my iPhone and tried to also capture the scene with that camera with my other hand.  Naturally, I screwed up the iPhone footage and almost screwed up the GX85 shot too because I wasn't keeping the frame steady and it was already not fitting in the frame.  I haven't found that file in post yet (I'm mostly through pulling selects from the 5h22m of footage from the trip), and I didn't review it that night because we were leaving the next day and I started to pack instead of taking time to review my dailies.
When we're all shooting with 1000Mbps 8K cameras then I'll be able to put on a super-wide and then crop a 1080p frame for the normal and mild-tele in post, but until then I can't get all three from the same file.

Nice edit.  Simple, but mostly friction-free.  The dialogue was free-flowing too, so perhaps the subject was relaxed and concise or you made some nice edits.  Either way is a good thing, being able to interview properly is a skill I know I don't have!
 

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

The Pana 14-140mm f3.5-5.6 is not much larger/heavier and has better OIS (but it's much more expensive used). It's been my main 'travel' lens for years.
Apart from market segmentation and heat issues, I suspect the processing chips used in the lower-end cameras can't support it. They also have major crops in 4k and pixel-binned (probably) FHD, versus uncropped and over-sampled video in G9/GH5/GH6.

This thread inspired me to break out the 5D3 and play with Magic Lantern Raw video again.  Took it with me to a shoot instead of the R5 and I forgot how great the old optical viewfinder is for photos.  Anyway, I shot some a lot of footage in 1920x1080 and in 3072x1308 and upscaled it to UHD in resolve.  I've missed this look.


 

After watching at @Andrew Reid's entertaining new YouTube video discussing m4/3, and more specifically, the GH6, I decided to look for some videos on YouTube and Vimeo. Strangely, I had a hard time finding many videos. I am mostly interested in the internal ProRes features of the camera, especially in 1080p and DCI-4K. 5.7K is not really something I would need right now.
To my surprise, I had a real hard time finding many samples. The lion's share of the videos were ProRes Raw samples, which look very nice, it's just not what I find intriguing about the camera.
I know times have changed and with that interests have as well, but when I saw a c-mount lens attached to Andrew's GH6, I was dying to see some footage of it. And I thought there would be a bunch of samples on YouTube of people experimenting with different optics on the most advanced m4/3 camera ever made...
But nope.
Obviously, a lot of videographers/filmmakers have moved on from m4/3 to the greener pastures of FF. Being a FF shooter, I understand the appeal, but I still find it sad.
So that brings me back to the title of my post... what's the deal with the GH6?
I heard there were some issues with pink streaking... has that been solved or has it been discovered why it happens?
With all that said, are there any good or creative videos floating around? Have the Nick Driftwood's or anamorphic shooters moved on from GH cameras?
I haven't owned a Panasonic camera in a while, but I really enjoyed the ones I have owned/used and I find it sad that the interest is waning.
@Andrew Reid can you tell me your experience shooting c-mounts/s16 lenses with it? Do you have any samples you would share?

It's been a challenge to find relevant content on a second angle. Primarily, it's a backup, as I do with most of my gear. I use my iPad pro for taking notes and it's become the most essential part of my online classes, making them much more like one-to-one in person classes. I admit the GH2s are especially for dialing in my exposure and look. This way, I avoid the "webcam" hot highlights on my face- doubt my students care though... it's just me.
Yes, I use 2 cameras for the possibility of stills, which are less important to me, but still important. I just haven't found a way to capture a moment without using 2 cameras. I used the GH6 with the Pany 9mm and the G100 with the Oly 17mm Pro. I find the setup is still too heavy for 25+ minutes. My NDs are also too big and heavy. The GH6 grip and the tripod grip for the G100 saved the day. Once again, here's another case for small cameras and lenses.
 

This leaves me with the best setup being either the iPhone by itself, or the iPhone + GX85 which means that the iPhone can do the wide and the GX85 can do the normal and tele FOVs.
The 14mm is good when combined with the 2x digital zoom, but still lacks some flexibility.  When I got home I put on the 12-35mm f2.8 zoom and while it's far more flexible, going a bit wider and hugely longer, the additional size puts it half-way to the size of the GH5 and severely hurts Priority 1 and 2.
This left me with a choice:
iPhone wide + GX85 + 14mm iPhone wide + GX85 + 12-32mm f3.5-5.6 iPhone wide + GX85 + 12-35mm f2.8 iPhone wide + GX85 + wide-zoom like 7-14mm or 8-18mm The question was if the iPhone wide camera was good enough in low-light.  I reviewed my footage and basically it's good enough indoors in well-lit places like shops or public transit, good enough in well-lit exteriors like markets, but very very borderline in less-well-lit streets at night.
For my purposes I'll live with it for the odd wide and will lean heavily on NR, which will give me the ability to have a longer lens on the GX85 which extends the effective range of the whole setup.  
I did a low-light test of the iPhone, GX85 and GH5 and found that the GH5 and GX85 have about the same low-light performance, iPhone normal camera is about GX85 at f2.8 and the iPhone wide is about GX85 at f8.  Considering that iPhone-wide/f8 was very borderline, if I aim for something like f4 or better then the lens should be fast enough in most situations I find myself.  I don't really find myself wanting shallower DOF than the 14mm f2.5, and could even have less without much downside.
This means that the option of a zoom lens is not out of the question, and the 12-32mm pancake seems a very attractive option.  It's larger than the 14mm when it's on and extended, but when it's off it's basically the same, and it would give a huge bump in functionality.
I took a number of timelapses on the trip too, and having a zoom would make these much easier as well.
I'm contemplating the 45-150mm as well, but we'll see.

The last is the GH5.
Firstly, it's noticeably larger than the GX85, so much so that it's not pocketable (despite what BM might claim) so it's less convenient to transport, and it's not "palm-able" either so you're walking around obviously holding a professionally-sized camera, regardless of what lens you use.
I tried taking it out with the 14mm lens one day instead of the GX85 and I found it more cumbersome to carry, more conspicuous to passers-by, and even subtly more imposing on my family.  When I accidentally found myself carrying it through anti-government protests (long story) I was thankful that the riot police weren't looking for anyone that looked like foreign media.
I typically pair it with manual-focus lenses, and found this to be quite cumbersome compared to the AF of the 14mm lens, but with faster lenses you need to worry about what it will focus on, so it's a whole other ballgame which even the animal-eye-AF cameras get wrong because they don't know which cat you love the most.
While the EVF is reasonable, but not great, the screen is cumbersome to use unless you're shooting from eye-level as you need to flip it out to be able to tilt it, not only making the camera a lot bigger (physically and perceptually to everyone) but also less manoeuvrable and more fragile if you get bumped etc.
Obviously the image is the nicest out of all three cameras, but you really pay for it in size and weight.
For Priority 1 and 2 it's definitely the last-resort, and I'd only pick it over the GX85 in very specific circumstances now.

The GX85 is the next challenge.
For Priority 1 it needs to be kept handy and accessible.  This means either being kept in-the-hand or kept in a pocket - keeping it in a bag adds access time unless the bag is on the front of my chest.  Both of these mean that the rig has to be kept as small as possible, which essentially boils down to lens choice.
The 14mm f2.5 lens is an absolute gem in this regard.  In the 4K mode (which has a 10% crop into the sensor) it's got a 30.8mm equivalent FOV.  I edit and deliver in 1080p, like all sensible people in the real world who haven't confused their ass for their elbow do, and so I can also use the 2x digital crop feature, which gives a 61.6mm equivalent FOV.  These two FOVs are hugely handy for showing people interacting with the environment around them - environmental portraits.
It also has good low-light, good close-focus distance, and has a bit of background defocus if the subject is close.
I have the GX85 configured with back-button focus.  This means that I hold down a button on the back when I want to engage AF and hitting the shutter button doesn't engage it.  This works brilliantly in practice as it means that I can focus once for a scene and then shoot without having to wait for the camera to AF.  I also have the viewfinder set to B&W and have focus peaking enabled in red, making it easily visible.  The histogram is also really handy to know what is going on too.
For Priority 2, this setup works well - the tilt-screen is great, AF is super-fast, IBIS is impressive and very functional, and I find using it in real-world situations to be easy, fast, and very low-friction.  It still gets some attention, but it's not excessive.
I find that for most shots I want to stop down to ensure that everything is in focus.  This is because my work is about the subjects experiencing the location and the interactions that are going on.  A nice portrait with a blurred-beyond-recognition serves very little purpose as it could have been shot anywhere at any time and therefore has no relevance.  This lens can give a satisfying amount of background defocus for mid-shots if required, and especially for macro shots, which are occasionally relevant in an edit.
Here are a few grabs SOOC.  
In grading I would typically lower the shadows to the point where the contrast is consistent (assuming it makes sense for the scene - lots of these have haze which you have to treat differently) and I would even out the levels of saturation etc.  I'd also sharpen or soften images to even out the perceptual sharpness too.
Interestingly enough, most of these images have enough DR, and even have elevated shadows, despite the camera not having a log profile.










These provide a really solid foundation to grade from.

So, where does this leave us?
Well, the iPhone wins Priority 1 hands down - so many people are vlogging or whatever in public now that it's almost invisible and I feel very little friction in using it.  It's always handy in an easily accessible pocket, and the camera is fast to use from the lock screen.  Once you're in the app it changes FOVs almost instantaneously, and will even change camera while recording, so that's hugely usable too.
It's also pretty amazing at Priority 2.  The stabilisation is simply incredible - I do the ninja walk pretty badly but it manages to give practically perfectly stable images even when walking on stairs etc.  The AF is also fast and reliable, and because it has a very deep DOF it doesn't have the problem of choosing the wrong thing to focus on.  It's got a large screen that is pretty easy to see in full-sun, even if you're trying to get a high or low angle and aren't looking straight at the screen.

I've gone through a journey over the last few months, and have come to a new clarity in my work.
As most know, I shoot video of my family but want to make it look as much like high-end TV and films as possible.  This involves shooting in completely uncontrolled situations with no re-takes.
My new found clarity is this.  
Priority 1: Get the shot
You can't use the shots you didn't get.
Priority 2: Get shots in the best way
Shots that aren't in focus, are shaky, don't have good composition etc aren't optimal.  Also, having shots where subjects are aware and nervous of the camera, people in the background are staring at the camera, etc are also not optimal.
Priority 4: Get the nicest image quality
Insert all the normal camera stuff here...  DR, colour science, etc.  No, I didn't mis-number this, it's priority 4 because it's so far away from priority 1 & 2 that there is no Priority 3.
Priority 1 is about feeling comfortable pulling out the camera and shooting, and having it be easy and fast to use.  No fuss.
Priority 2 is about stabilisation and focus, but is also about camera size.  Smaller is better.
This means that iPhone > GX85 > GH5, but unfortunately for priority 4 it's the opposite.
Overriding principle: Use the biggest camera that won't draw too much attention in the situation.
My first challenge was to see if using the iPhone was going to even be feasible.  I mean, the image quality that I saw from it was horrendous.  @mercer laughed when I called it "MAXIMUM AWESOME BRO BANGER FOR THE 'GRAM" but it was potentially the most savage insult I could think of - and the way to make images look as cheap and amateurish as possible.  I own the iPhone 12 mini, which has the normal and wide cameras, but not the tele.  One thing that escaped even my attention was that this has HDR and 10-bit support natively, so it's got at least some potential.
Long story short, I filmed a test scene with all three cameras, as well as a colour chart I made in Resolve and a colour checker and attempted to match them.  Matching to the GH5 was obviously not feasible, but I like the GX85 so I matched to that.  Matching the GH5 to the GX85 was as simple as making a few basic adjustments.  Then came the iPhone.... I tried matching the scenes first, with limited success.  Hues and saturation and Luma behaviour were clearly different and not in easy or nice ways.
That's when I turned to the colour chart and tried to look at what was going on.  At first, the iPhone vector-scope was horrifically tangled, but in a stroke of luck I noticed that the luma curve was pushed up to brighten the mids, and when I brought it back to being linear, the vector-scope immediately fixed itself and was stunningly plain and straight-forwards.  Win!
This is the before/after of the greyscale from the colour chart:


While this isn't a perfect linearisation, check out this before/after of what it does to the vector-scope from my Hue vs Sat test pattern in Resolve....


(I'd removed a few rows in the mildly-saturated region so I could more easily compare between cameras.  This is the GH5 in HLG without a conversion to 709 for comparison)

If I apply a CST to the GH5 (from rec2100 to rec709) and include saturation compression, we get this horrific thing:

I've used that CST technique in the past and it's been fine on real footage, so it's not as bad as it looks.  But the moral of the story is that the iPhone now has easily manageable colours.
I was absolutely stunned when I realised that grading the iPhone footage could be as easy as working with the GH5 footage.  Plus, it's 709 footage in 10-bit, so it should be prone to less banding and artefacts than the GH5 footage, which is 10-bit log.
Next step is to use the colour checker to match the hues and saturation levels of the GX85.
Here are the vector-scopes before matching..  GX85:

GH5:

iPhone with curve:

Obviously the iPhone is nothing like the others, which is what you'd expect - Apple gave it a very distinct look and it's very different to the Panasonics.
I also took shots of the colour checker in -3 stops and +3 stops.  This showed that on the underexposed image (-3 stops) the iPhone is less saturated than the GX85/GH5 and on the overexposed image (+3 stops) the iPhone is more saturated.  Resolve has a curve for this.  I couldn't match it completely as it required a brutal adjustment but I pushed it in the right general direction.
After applying some hue and saturation adjustments, we get quite a good match.  iPhone:


The plots at -3 match well, but the plots at +3 are all over the place, with the GH5 clearly having some rather strange issues.  I'll ignore these for now - the goal is to make the iPhone into a camera that can be used for filming more than just memes, it doesn't have to match perfectly.
I also applied a gaussian blur to the footage to un-do the horrendous sharpening that is applied.
Here are some sample images from a recent trip with the above adjustments applied, without even adjusting each image individually - this is just the starting point.  As I shoot auto-WB I'd be adjusting each image individually, main focusing on skin-tones.  It should also be noted that these adjustments apply equally well to the normal, wide, and selfie cameras, and also apply to the 1080p120 and 1080p240 modes from both the wide and normal cameras.  These shots include a mix of these.





It looks like a real camera to me!  Not the best in the world, but it doesn't make me regret shooting with it, so firmly in the usable category.

I'm curious to know what cameras people are actually using?
By reading the forums I get the impression that everyone is using the latest and (so called) greatest cameras, but I suspect that's not the case.  I haven't been posting lately because I've gotten the impression that no-one would be interested unless I was pixel-peeing a Z9 or whatever, and I've moved past that now.

Hi all and Happy Easter to you 🐰
most you know that I have invested quite some time to get the SIGMA fp "right", came a long journey over trying to understand ProRes RAW, cDNG and applying the ARRI colour scene to footage of it...
Ultimately I have worked in the last couple of weeks on own LUTs, which are keeping the colour science of the camera and additionally are mapping the full dynamic range potential of the camera into Rec709. 
Took a little bit different approach than common, because the LUTs are basically only tone mapping the dynamic range and do not add any further contrast, which in the end leaves a lot more material for grading. They are working with both Final Cut Pro and DaVinci Resolve, so both PRR and cDNG workflows are covered.

Below you will find the free download link as Easter gift 🥚 There is an operations guide included as well, which states what the LUTs are doing, plus tips and tricks, some graphics and last but not least, my recommendation in regard to adding contrast.
 
Hope the ones of you who still have this camera will find that useful, it is unlocking quite a bit of potential. Looking forward to hearing your comments, see your footage processed with it. 🙂

Link: https://www.dropbox.com/s/ab2oef3bn3mz1dx/SIGMA fp Rec709 LUT v2.zip?dl=0&fbclid=IwAR1tqT_N3uLbzJeM4s66G1841SFhwLsOxuFjnYtEdBxudYDrRgHMH0g7ig4
 
 

I gave you a like for your unusual choice @Rinad Amir of camera. Noooot:) But for the Konica 35-100 F2.8 which you might have combined with it, which a I got because of your recommendation. Best direct lens recommendation I got, besides my 8EUR Tokina 25-50 F4 from @andy lee, one of Eoshds lens connoisseurs.
I put my Fs700 to a bit of use for some additional income, in HD 420 mostly. S1 got a little share of that. GX85 my eternal love, awesome beautiful image taker and camera. Sony PMW F3 waiting to get any use:) BMMCC used for some camera enjoyment. 5D2 and 3 to test which one is cooler for raw video and hopefully not collecting dust with the F3. Second FS700 never used, collecting dust. BMPCC og collecting dust. I am a dust collector like my lenes. Don´t start me on lenses:) Still got a G7, Oly Pen EP2 and E-PL1 🙂 
Looking forward to see some (moving) images from your beauties. 🙂 @Ty Harper @majoraxis
Welcome back to the forum @kye 🙂  

Current totals and some very shallow analysis.




Not much overlap between what is used and what is discussed, and not much respect for what people are actually using.