billdoubleu

In my experience; any classic film that has been properly restored and transferred to 4K will look absolutely amazing in comparison to any copy you have seen in the past. This is especially true for black & white films. Recent examples like The Godfather and Citizen Kane are well worth it.
In contrast, recent films, especially those captured digitally, you probably won't see much of a difference between the 1080p and UHD versions.

In my experience; any classic film that has been properly restored and transferred to 4K will look absolutely amazing in comparison to any copy you have seen in the past. This is especially true for black & white films. Recent examples like The Godfather and Citizen Kane are well worth it.
In contrast, recent films, especially those captured digitally, you probably won't see much of a difference between the 1080p and UHD versions.

Been playing around with the Canon EOS M and Magic Lantern RAW over the past few weeks, mainly testing Anamorphic Adapters and Lens combos. Prepped and shot this short film in a few of hours as a test run. Color grading under a Rec709 Conversion (BMD Rec709 LUTs Available Here: https://blackmagic-luts.yolasite.com/)
Personally, really enjoying this little camera. Shame the YouTube compression is so heavy.
What do you think?
B.
 

Couple shots of my BMPCC with my 14x Fujinon.

Wow, the S1 has no ALL-I codecs?  That's a bummer.
The P4K has about the same DR as the GH6 in DR Boost mode - 11.6 / 12.7 vs 11.5 / 12.8
(Source is the P6K tests where the make some comments about the P4K: https://www.cined.com/blackmagic-pocket-cinema-camera-6k-lab-test-dynamic-range-latitude-rolling-shutter-more/)
From my perspective the GH6 and P4K are so incredibly different that they're incomparable.  You'd have to be shooting in pretty narrow and controlled conditions for their differences to not be relevant - IBIS, battery life, photo mode, automatic settings, etc etc.
I doubt it.  They've announced Prores RAW with Atomos and I doubt they'll provide a second RAW option - most cameras don't even provide one RAW option!!

Octopus Cinema Camera actually posted yesterday about a side project they're working on using their software with the Raspberry Pi camera.
https://www.instagram.com/p/CaaLmwyKNhO/

Someone has been working with a Raspberry Pi high quality camera module to make their own 1/2"-sensor open source, raw-capable cine camera:
Placed into a 3D-printed body, the components reputedly only cost $200 (this probably assumes that you already have a monitor of some kind). The demo footage is surprisingly good:

Color Science was the main reason I got rid of my GH5. And I think that is the weakest link to the average person is editing and color correction. So why have to color grade every damn inch of footage you shoot. Nah not me. 
Plus we can get into the DOF thing, no equivalent fast lenses, poor high ISO's,  crap AF, sure a SB solves some of that, but the extra glass degrades the image on and on. I am not even into s35 anymore. FF or go home. Even my OG BMPCC is a pain in the ass with a 2.88 crop. All that crop stuff gets old. SB, Focal Reducers ehh enough. And the GH6 is pretty huge to boot. I don't see it sorry.

Very true, and my mind is always fixated on Blackmagic's codec rather than any true RAW data collection. I feel like it's a technology that isn't getting enough respect in a Prores dominated world. It is young yet though.
I would most likely be using a flavor of h265 most of the time on the GH6. Especially having an M1 Mac makes working with those files possible.
Regardless, bottom line, the GH6 looks like one sweet picture making machine. I think my next camera is going to have to be my forever camera, and this is on the short list.

Very true, and my mind is always fixated on Blackmagic's codec rather than any true RAW data collection. I feel like it's a technology that isn't getting enough respect in a Prores dominated world. It is young yet though.
I would most likely be using a flavor of h265 most of the time on the GH6. Especially having an M1 Mac makes working with those files possible.
Regardless, bottom line, the GH6 looks like one sweet picture making machine. I think my next camera is going to have to be my forever camera, and this is on the short list.

Very true, and my mind is always fixated on Blackmagic's codec rather than any true RAW data collection. I feel like it's a technology that isn't getting enough respect in a Prores dominated world. It is young yet though.
I would most likely be using a flavor of h265 most of the time on the GH6. Especially having an M1 Mac makes working with those files possible.
Regardless, bottom line, the GH6 looks like one sweet picture making machine. I think my next camera is going to have to be my forever camera, and this is on the short list.

Sure, people were complaining about not having professional editing codecs available internally in cameras like the GH5, but, those complaints began at least five years ago when Prores was already 10 years old. Prores was an option in every blackmagic camera alongside CinemaDNG starting in 2012, so, there's no logical argument that those codecs couldn't have been included in the GH5. The GH3 should've been the last GH camera sans Prores.
Here we are in 2022 and there is a growing list of RAW/ RAW(ish) codecs that didn't exist five years ago. ProresRAW, BlackmagicRAW, TICO-RAW are innovations sprung from the limitations imposed by RED's patents. These are all available internally in one or more cameras. Along with uncompressed RAW in the Sigma fp. So, while Prores is a welcome addition, no one should be impressed by it. Panasonic should either have developed a RAW technology by now or be licencing one.

Reviews most certainly have had these cameras in hand for a number of weeks now.

To the surprise of absolutely no one, Sigma have officially announced the X mount versions of their venerable 16mm f1.4, 30mm f1.4 and 56mm f1.4 lenses.
https://www.sigma-global.com/en/magazine/m_series/others-lenses/fujifilm-x-mount/sigma_xmount_lenses/
Sigma very much treading the vinyl>cassette>8 track>CD>miniDisc reissue path there to make sure you can buy them for every new format you move to 😉
Excellent lenses though.

GH6 will use single exposure dual gain HDR:

I'm still not convinced about this.
Yes, they do say:
"Nothing is "baked" into an ARRIRAW image: Image processing steps like de-Bayer, white balance, sensitivity, up-sampling or down-sampling, which are irreversibly applied in-camera for compressed recording, HD-SDI outputs, and the viewfinder image, are not applied to ARRIRAW. All these parameters can be applied to the image in post."
However, immediately before that, they say:
"For the absolute best in image quality, for the greatest flexibility in post, and for safest archiving, the 16-bit (linear) raw data stream from the sensor can be recorded as 12-bit (log) ARRIRAW files."
So in this sense, the "nothing" baked into the ARRIRAW includes the combination of two streams of ADC and also a colour space conversion.  It's perfectly possible to do whatever you like to the image and still have the first statement be true in a figurative sense, which is how they have obviously intended it - "nothing you don't want baked in is baked in".  The ARRI colour science could still well be baked in and no-one would be critical and the statement they make would still be true in that figurative sense.
To me, the proof is in the pudding, and even that Alexa vs LF test included small and subtle shifts between the two images that is unexplained by the difference in lenses.
That doesn't mean you care about colour as much as I do, or see it in the way I do.  The fact you can hire a colourist means that the colour science from the manufacturer means less as you can cover any shortfall by hiring a pro, I don't have that luxury unfortunately, and thus why the colour science has a greater impact to me.
I suspect most people buying a GH6 also probably don't have regular access to a colourist to take up any shortfalls.  Ironically, the cheaper the camera the more that someone would need to have more latitude, great colour science, and a solid codec to work with.  By having the best image come from a camera that costs $100K you're giving the most robust image to the very people who need it least as they can afford to use the camera at its exact sweet spot and not need any of its latitude.
Agreed, and being skeptical makes sense.  Realistically I'd be happy with any log colour space as long as it's a standard that is supported by ACES or RCM.
Like I said, the folks with access to higher-end equipment and colourists for backup and troubleshooting swap to the higher budget stuff when the going gets tough, but those of us who don't have that luxury are stuck with what we have and have to make the best of it without any backup.
But when we suggest that we'd prefer things that make our lives easier (robust colour science, codecs, DR, ISO performance, etc) rather than things that don't really help in difficult situations (resolution, etc) somehow that doesn't make sense to the people that aren't in our shoes?
I think the top comment on the Alexa vs LF video is the most telling.... "Based on image aesthetics I'd go with the 65, but based on my budget I went with my Panasonic G7."
Expecting ARRI level images from a GH6 is definitely unrealistic.  But I mention it for precisely the same reason you mention wanting more DR - the better they can make it the better our results will be.
Magic Lantern gives options for 14-bit RAW on the 5D and also on my 700D, so I'm assuming that the Canon sensors have a 14-bit output.  I'd assume that means it's not that difficult to do - after all the 5D isn't a new camera by any means!
According to CineD the GH5 gets 9.7/10.8 stops, the OG BMPCC gets 11.2/12.5, the S1H gets 12.7/13.8 and the Alexa gets 14/15.3.  I really notice a difference between the GH5 and OG BMPCC, and obviously the S1H is significantly more again.
Have you shot with an Alexa?  If so I'm curious to hear if you noticed any differences from the extra DR when using them?  Obviously there's an amount of DR that would be "enough" for almost all situations, and I'm curious to know where that amount is.
I'm also skeptical about motion artefacts that would come from non-sequential exposures.  I guess we'll see.  It might be more useful in situations where motion blur isn't significant and extra DR is, for example locked-off shots of architecture and the like.  You could easily have it take a set of images around the 1/1000s mark, perhaps at 300fps, and then combine them.  That would give you great DR to include the highlights in the sky etc.
Based on your logic about 12-bit ADC being a limitation and new sensor tech being required it will be interesting to see what this new sensor can do.
Only a few sleeps left until the formal announcement!

Sure, people were complaining about not having professional editing codecs available internally in cameras like the GH5, but, those complaints began at least five years ago when Prores was already 10 years old. Prores was an option in every blackmagic camera alongside CinemaDNG starting in 2012, so, there's no logical argument that those codecs couldn't have been included in the GH5. The GH3 should've been the last GH camera sans Prores.
Here we are in 2022 and there is a growing list of RAW/ RAW(ish) codecs that didn't exist five years ago. ProresRAW, BlackmagicRAW, TICO-RAW are innovations sprung from the limitations imposed by RED's patents. These are all available internally in one or more cameras. Along with uncompressed RAW in the Sigma fp. So, while Prores is a welcome addition, no one should be impressed by it. Panasonic should either have developed a RAW technology by now or be licencing one.

Hold on, I have Albert on speed dial...

I've only been in the camera/ video hobby for 5 years now. But, I'm shocked more and more every year by how much money people will lay down for what seems like only iterative cameras (same with smartphones). This is a bit more than an enthusiast like me wants to spend, but, I think professionals will respond to this well enough.

I find this codec table useful: https://blog.frame.io/2017/02/13/compare-50-intermediate-codecs/
Prores has about the same bitrate per pixel regardless of resolution, so UHD is 4x the database of 1080p because it's got 4x the pixels - twice the width and twice the height.  From this standpoint 5.7K should be about 1.6Gbps, so it's more than Prores HQ and less than Prores 4444 (which would be 2.2Gbps).
Still, this is an incredible bitrate and may as well be RAW.
I'd assume those would all be included.  Fun times for film-makers who prefer to capture in a professional codec in the resolution they want to distribute in!
If your exposure to a cameras popularity is only on forums like these then you will be missing the incredible popularity that the GH5 still has to this day.  I'm in GH5 FB groups where new people are upgrading to the GH5 and posting the newbie questions regularly, like what gimbal is best? what cage? best lenses? best vintage lenses? can it shoot RAW? how can I get it to do X? etc etc..  
TBH those groups are a completely different world than here, and other forums.  There are people out there filming paid gigs for music videos and weddings and the like that have just bought the camera and are filming them with the kit lens and don't know that colour profiles exist.  People post their (often paid) work all the time, ask for feedback, and get 50 people replying recommending they buy lights and study the framing and camera movement of movies and high-end productions.
Yeah, the AF seems to sort-of jump and pulse.  This might be tunable with settings perhaps.  
The AF issues from the GH5 were mostly it being slow or just deciding to focus on the background rather than the person in the middle of the frame, so maybe those are lesser issues.
It's not like the other manufacturers have worked it out though - I still see AF fails on vlogs shot on Canon and Sony cameras.  They tend to be included in the part where something funny or interesting happens and they want to include it for storytelling purposes and couldn't re-shoot it, so those moments are often little BTS on what the camera is really capturing, and sometimes the AF is seriously ugly.

I bet this item will see a large sales boom once the GH6 is released.
https://www.tomshardware.com/news/adapter-turns-ssds-into-cfexpress

I bet this item will see a large sales boom once the GH6 is released.
https://www.tomshardware.com/news/adapter-turns-ssds-into-cfexpress

Sadly, my Olympus E-P7 had to go back for repair due to some IBIS problems. I couldn't take a photo at anything under 1/15s. This was unacceptable as I could do it no problem without IBIS, hence the faulty IBIS system. They assured me it was a one-off problem and wanted to replace my black and silver one with a white one (no available spare parts an no black and silver ones left). I refused. In the end, they gave me the E-M5 iii which is also a very capable small camera. I will have to say they treated me VERY well and made EVERY effort to make me happy. I will be taking my business to them for the foreseeable future. I don't know what Olympus was like before OMDS, but I cannot imagine a drop-off in after sales service. Kudos to them.
I never really had a chance to get super cinematic video from the E-P7, but I can assure you, in the right hands, it's decent. With normally great IBIS and the ability to change the saturation of 12 individual colors, this tool seems like a creative in-camera powerhouse- and at only 337g.
I'm eagerly waiting to see what's to come from the OMDS engineering team as they have a real opportunity to make gains with many content creators as they don't have other products lines to protect.
Some day, I'll get another E-P7.

Bingo. You win @homestar_kevin! Congrats to bragging rights.
Indecently, how do you like your Sony VCL-ECU1? I checked out some videos on it, but most people just said they got it because the DMC-GWC1 wasn't for sale anymore.
I had been looking for a used one for roughly 4 years (off and on). I finally found one a few weeks ago and the guy wanted a direct transfer... (a bit risky) but I did it and he followed through. As I mentioned above, I cannot believe that we don't have a better solution as this set up dates back to 2012. I saw a few others available over the years, but they were just asking too much or they were too far away.
Here it is on my GM1 (as my Olympus E-P7 had to go into the shop for IBIS recalibration). The AF is working almost flawlessly on my E-M1 ii with tracking and face-detect on. I have to make a few more tests, but I like what I see. Also, as it was designed for this lens, everything is super easy to take on and off. I'm going to try adding some ND on it now, but it should be a challenge as there are no filter threads (nothings perfect).

i shot this a while ago on the original bmpcc: