newfoundmass

There's an awful lot of people that rely on Lumix cameras for their professional video work and businesses, so I'd have to disagree. 
 
"Serious video work" shouldn't be based on the size or scope of the work. Certainly wedding filmmakers are doing serious video work? Or the indie filmmakers that shoot their films with Lumix cams. 

There's an awful lot of people that rely on Lumix cameras for their professional video work and businesses, so I'd have to disagree. 
 
"Serious video work" shouldn't be based on the size or scope of the work. Certainly wedding filmmakers are doing serious video work? Or the indie filmmakers that shoot their films with Lumix cams. 

There's an awful lot of people that rely on Lumix cameras for their professional video work and businesses, so I'd have to disagree. 
 
"Serious video work" shouldn't be based on the size or scope of the work. Certainly wedding filmmakers are doing serious video work? Or the indie filmmakers that shoot their films with Lumix cams. 

There's an awful lot of people that rely on Lumix cameras for their professional video work and businesses, so I'd have to disagree. 
 
"Serious video work" shouldn't be based on the size or scope of the work. Certainly wedding filmmakers are doing serious video work? Or the indie filmmakers that shoot their films with Lumix cams. 

You’re right. 
I know countless people using the GH5 for serious video work. I’m one of them and everybody is fine with it, and never questions it. I use it alongside the EVA1 and the GH5 performs brilliantly, every time.  
 

Viltrox EF-M2 is optically identical to the Metabones in center of the shot, corners are a bit blurry. However is that worth the difference? If I was shooting a movie for the cinema, I wouldn't skimp on that, but as I'm mostly shooting for youtube and web delivery, there's no way anyone can see the difference and none of my clients ever commented on that. 
 
I have it, I had zero issues with it and I think it's worth the price. 

I personally went the mirrorless route because of the versatility and flexibility it gives me, even though for sports a camcorder is probably more ideal. But I shoot interview, corporate, wedding and commercial video too, so investing into camcorders just didn't make sense for my personal work. I did, however, go the camcorder route for the pro wrestling live streaming company I co founded, because they were only going to be used for sports. 

You can get dedicated PTZ cameras from Panasonic, Sony etc but they are pretty expensive.
If you want to use your GH5 then Panasonic do two powered zoom lenses (Lumix Vario PZ and 14-42mm and 45-150mm) so you would be able to control exposure, focus and zoom remotely over wifi from the app if you used those. 
The primary problem with those lenses, aside from the speed, is that they don't cover enough of a range in one unit and the long end is not long enough for a lot of sports.
A better solution would be a Panasonic FZ2000/2500 which has the entire zoom range in one integrated unit and goes out to 480mm equivalent on the long end with additional digital zoom if you need it.
https://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-digital-cameras/bridge-cameras/dmc-fz2000.html
It also has a ton of other features including in built ND, OIS and a paid V-LOG upgrade if you want it.
Again, using the Panasonic app, you will be able to control focus, exposure and zoom over wifi.
The missing piece of the puzzle then would be the tripod head and I would definitely have a look at the Bescor/Hague head for that which has both wired and wireless options for controlling them.
Its not a totally integrated solution as the camera and head controls are separate but its as close as you are going to get without buying a dedicated PTZ camera and certainly a lot cheaper. It also has the advantage of giving you a standalone second camera for use in other projects rather than just being a single use device.
Coincidentally, I walked past a glass windowed studio here the other day where they are using two of the heads to do a live show with.
 

New setup went well today.  I'm not sure I would change anything, at least based on todays shoot.  The worst part about the shoot today was that I forgot to take my hat!

The setup consists of:
GH5 Rode VMP+ Sun 70-210 f3.8 lens (sample images to come) cheap ebay monopod (modified with the head removed) The mic is mounted on the side and forward which pushes the camera back from the monopod allowing easy access to the viewfinder.  It's a cheap ebay flash adapter like below, with the camera QR plate on one end, a cold shoe adapter on the other for the mic, and the monopod in the centre mount:

 
The tripod is modified with the head completely removed and a screw installed in the 'cap' that used to support the head.   It's not quite straight but, oh well, whatever!

The screw is actually the screw part from one of these, which I used epoxy glue to hold in place, and the flat part meant for the cold shoe provides a strong connection for the whole thing. 

I still have a niggling want for a lens longer than 200mm, maybe a 100-400 zoom, but there don't seem to be any cheap fully manual ones around.  The players at the other end of the field are pretty small in the frame even at 210mm (420mm equivalent).
 

Honestly for me, it wasn't even something that I was considering buying (unless it was a must get!) as much as wanting to see a sign that Panasonic is still invested and committed to M43. 
The LS300 still serves me well. And a GH6 has more appeal to me anyway. I just want re-assurance that they're committed to M43 because the G95 didn't set my world on fire and aside from the new lense its been pretty mum. 

That's disappointing, I was really hoping it'd be a M43 camera (but was probably being naive to even think that.) 

There's literally an entire section of the BMD site dedicated their press releases that discuss their cameras being used on projects. 

You literally ignored every thing I wrote, including examples, that show you're wrong. In fact, your entire argument, which I reiterate is dumb, has changed from "no one will use these cameras for professional productions" to "no one will use these as A cams." 
What does "bigger budget" even mean??? That's such a blanket statement. $2,000,000 is "bigger budget" work for a lot of people. 
All you need to do is go through Blackmagic's old press releases to see the projects that used the original pocket, since BMD promoted pretty much every project that uses a product of theirs, to see that these cameras get used on major projects, including on an Avengers film, A cam or not. 

Even the wording in the phrase "full frame" is itself one of the biggest marketing wins Canikon has ever pulled off!

Making many newbie (and not so newbie!) photographers (has leaked over and infected filmmakers too) feel inadequate if they have anything less than their "full" frame. 

Yeah, that's not an issue in sports venues that have people in spandex throwing each other around and fans hooting and hollering?

Yeah, that's not an issue in sports venues that have people in spandex throwing each other around and fans hooting and hollering?

The "need" for full frame is largely manufactured by camera companies looking to charge you a premium and people have bought into it. The profit margins are greater for full frame cameras and lenses, so it makes sense. 
But as this push for "bigger is better" unfolds, sensor technology has improved by leaps and bounds. While camera phones have hurt the camera market, that so much is able to be squeezed out of these tiny sensors tells me that there's still tons of more progress that can be achieved. 

You literally ignored every thing I wrote, including examples, that show you're wrong. In fact, your entire argument, which I reiterate is dumb, has changed from "no one will use these cameras for professional productions" to "no one will use these as A cams." 
What does "bigger budget" even mean??? That's such a blanket statement. $2,000,000 is "bigger budget" work for a lot of people. 
All you need to do is go through Blackmagic's old press releases to see the projects that used the original pocket, since BMD promoted pretty much every project that uses a product of theirs, to see that these cameras get used on major projects, including on an Avengers film, A cam or not. 

Yeah, if the industry moves towards full frame it will do so because the camera and sensor companies have moved them in that direction as opposed to a genuine overwhelming demand. 
All the films that inspired us didn't need full frame. Heck a lot of them didn't need Super 35; The Texas Chainsaw Massacre is one of my favorite films of all time and is Super 16. Another favorite, 28 Days Later, was shot on a standard definition DV camcorder! 
It reminds me of this manufacturered need for 8K. Are there genuine reasons someone might need 8K? Absolutely. For visual effects, etc. the more resolution to work with the better. But when most of us are still exporting for clients / web use at 1080p, 4K is more than enough. And as I've said before, even 4K is overrated, given I don't think any of us have large enough televisions to actually truly appreciate it! ? If I'm not within 3 feet of my 55 inch 4K screen the difference is virtually impossible to see! 

They're saying is an L-Mount cine camera ?

Yeah, that's not an issue in sports venues that have people in spandex throwing each other around and fans hooting and hollering?

@kye Definitely appreciate it! I'm just a hungry 22 year old kid. Its possibly the hyped of music. Sorta the new age going forward with sports videography vs the traditional NFL films chill slow motion edit. 
Most people that want to work in sports have a degree so I have to work harder to stand out. A lot of pro teams and colleges teams would rather hire someone with a college degree and an average reel than someone with an excellent reel and no degree. 
I've found shooting HLG is fantastic for harsh mid day game lighting. (I try to avoid LOG as much as possible). 

I had a TM-2X that I  bought to use with a Tascam DR-60D mk2 -- I turned on the plug-in power and was set to go, but the noise floor was not good. I do understand that the preamp for input 3/4 on the DR-60D is not the best, but I returned the TM-2X immediately. That said, might be just the thing for a wrestling film.  "Noise floor? What? I can't hear you!"

No it doesn't. What P4K does the echo system work with?  And NO again on professional productions. If it's professional and matters and has a budget no way will the client be ok with the P4K as the A camera. You'll get laughed off the set by your hired guns on your crew.
Because you provide an adapter for the EVA to L. No way is this press conference for the EVA to L mount. 

I know for a fact the p4K is not used on BMW commercials. You guys talk down on the Z6 and anything but a big production cine camera is used on REAL professional productions and when I say the same thong about the P4K you get triggered. 
I don't disagree that the Z6 would be laughed of the set but the P4K with speedboater and limitations would be laughed off any important set as the A camera. BMW would not allow the P4K to be used as the A camera. 
When you get into bigger budgets everything is vetted and approved and NO ONE will risk reputation to put a $1,295 camera as the A camera.