SteveV4D

I had a look.  Our work differs.  Weddings I don't have a discard bin, and I'd rather have all the clips to hand until the project finishes.  Once the project is archived, I delete the project folder and all original files.  I can't reuse Wedding material, aside from some shots of buildings and even that rarely works.  A summer shot of a venue looks out of a place in an Autumn Wedding and I work a wide variety of venues anyway to make it practical.
I colour tag each camera and each camera has its own layer.  This way I can colour correct one cameras files by hiding the other layers.  I use shared nodes for common corrections for a single camera, then tweak with new nodes if needed.  With Resolve, I can make a change in the RAW settings and apply it to multiple clips.  This saves me time, if I want to do a white balance correct to say the evening dance footage, of which there will be loads of clips. 
Typical Wedding, I have 400 to 500 clips to work on, so I don't waste too much time with metatags.   I manage the clips in Resolve and assign to sub folders within the software as I go through them.

Give Sony its due here, the FX6 and A7SIII make for a much better A and B camera than Canons recent C70 and R5.  The latter has both cameras at odds with native 4K sensor up against downsampled 8K, before we even look at the overheating issues the R5 has.   
All we need is for Panasonic to be inspired by the C70 and FX6 and release their own dedicated video camera, which when combined with the S1H, you've another excellent A and B camera setup to choose from.  Assuming AF wasn't your big concern. 

I shall have to remember this when watching the next crap movie on Netflix.  At least its the product of people with decades of experience  using TC.  😂😂

TC very useful for particular productions can not be argued, but a linchpin in Netflix approval feels narrow minded.  Not every production should have its value rest on TC input..  🙄🙄

Learning skills can vary depending on if you're shooting more work or not.  The downtime has allowed me to learn new skills such as colour grading, but also shooting so many Weddings per year allowed me to quickly learn the ins and outs of shooting with a particular camera and general use of the editing software.  I picked up Resolve quite quickly 2 years ago, learning on the fly, because I had to.  When you have actual projects to direct your learning, it can focus my efforts more than if I were to just dip in for the sake of learning.

A Nikon mirrorless hybrid with internal BRAW would be high on my list if implemented.  If external BRAW, then less so.  If they want to set themselves apart from Sony, Canon and Panasonic fullframe, adding internal BRAW would be an advanatage.  Don't hold back on video, though I won't hold them to a ND filter...  even if it would be desirable.
Canons hybrids still have their limits, Panasonic keeps missing on AF, Sony is doing well, but their main video hybrid is only 12mp, which for some is seen as too small for the hybrid work they do.  So Nikon have a chance to fill the gap. 
I'm awaiting the first fullframe hybrid with a better internal codec than H264/5.  Will Nikon be the first?

That was me.  🤣
It's hard to be 100% sure, but going by 2017 to 2019, I had approx 107 clients booked each year.  Approx 16 are non Weddings, making 91 approx Weddings a year.  Each one gets 3 videos, a 1 min Trailer, Full Length and Highlights.  Some of the Weddings (about 50% of them) have 30 minute videos, Marryoke, Guestcam and Video Messages.  About 10% have all of the above.  
Non Wedding includes parties, where they get a Highlights and a Full Length.  Even my Corporate work, I'm doing several videos a lot of the time.  Such as a Promo video and separate Drone video.  
Plus I do a few of my personal videos in my time off.... 🤣🤣🤣
I can't say it's that much more than 360, but its around that mark for sure. 

I have been messing around with mine today too and have been really enjoying it. The feel in the hand is superb, very ergonomic and access to NDs in body is bloody revelatory. The weight is really nice, it feels more solid than my 4k. 
 
The screen is really useable even in bright light, colour tint on screen seems ok too. No major colour shift noticed in the footage with ND up to the full 6 stops though no scientific testing done. 
 
All in all I am really happy with it. I put on the Canon 24mm f2.8 is lens, stuck in a Cfast and was able to fit it into a small shoulder bag and head out for the day with one spare battery. Everything I needed was in the camera, very liberating. 

Got my Pocket 6K Pro today.  I took it out for a quick try at the grounds of a nearby University.  
Just some initial thoughts.  It does look like my screen has a slight blue tint.  I have not yet tried to upload any LUT, so can't confirm that yet.
Just using it for basic shots, it's a welcome step up on the Pocket 4K.  Tilt screen is very useful and I tried some low shots to make good use of it.  It was a dull day, but its clear the screen is a lot clearer and brighter.  I need a sunny day to really test it though. 
Battery life much better.  Not as good as the GH5 I own of course, but much more usable than the P4K.
Colour looked better but I need to edit the footage to make a proper judgement.  No issues with the IS on my 24 to 105 lens as I had on the 4K with the metabones adaptor.  However as the issue was intermittent, its hard to be sure.  It was a cold day, so I would have normally have had issues and lots aperture control at some point.  This didn't happen once.   Some improvement in shallow depth of field from the slightly larger sensor.  Nice look that I look forward to working with.
It's bigger and heavier to hold, but I felt sturdier in my hands.  It helped me to get more stable shots I felt.   I will continue to take it out and even start editing the footage, so will have more thoughts on it as time goes on.  However, I am very pleased with it so far.   

Canon have dropped the ball with their R5/R6 release.  Neither were the camera many hoped for.  I had hoped to add a R6 to my gear, but the release fell far short of even modest expectations.  Overheating and rolling shutter plus other notable misses as well.  Shame on Canon.  
Sony are pushing further than Canon in some areas, but Canon is in others, but for video, Sony is doing better IMO.  And I say this as someone who has never enjoyed a single Sony camera I have owned and prefers Canon colours to Sony.  Sony is narrowing the gap and I predict a day when Canon won't have the edge in AF and colour it once enjoyed.  Unless Canon can stop limiting their cameras so drastically, they will continue to lose their market to Sony, as they have done already.

I couldn't agree more...I used this period to finally ditch Premier and truly embrace Resolve.....best decision I've made in a long time.  It also gave me time to properly build my kit for the S5 and transition from the GH5.....now I just need paying clients again and I'll be all set. If I could just get rid of Photoshop and Lightroom I'll have eliminated nearly all recurring costs.

Agreed.  If the GH6 had been released in early 2019 with 6K or even 8K, it would have carried some weight and continued the trend.  As it was, Panasonic went down a different route.  Each GH release carried something new that got people excited for MFT, but it will be hard for a GH6 to get the same level of excitement now.  Though with the S1H out there, it's no longer going to be Panasonics flagship hybrid camera, so probably won't have to be the big launch previous models were. 
If done well, it could keep the MFT line going for another 5 years.  It's whether Panasonic will want to do so, when there are advantages in encouraging current GH users to shift to their fullframe brand and spend money on a new lens system.  MFT still has its uses, and is great for light and low profile lenses, but with Olympus gone, it feels like format dying slowly from neglect.

I am not sure that works.  The GH5 added IBIS and 10 bit, making it a much more exciting a camera release at the time than the GH4 was back in its day.  Sure the GH4 added 4K, and it was huge, but 10 bit files is hardly a small addition.  GH3 added 60p to HD, again a huge step from the GH2.
I think each step of the GH Series has been a big step and factored in new technology, bringing new things to mirrorless camera from 1080p, to 60p 1080p, to 4K to 10 bit and IBIS.  
The GH6 would need to add something unique.  Alas 8K has already been done in fullframe, RAW with the Pocket cameras, 120fps is already covered.  What can the GH6 offer on the table to make it stand out from what is already there?  Not much.  Even internal ND has been done.   
You can't blame Panasonic if they thought that MFT had now had its day.  Technology has now caught up to make fullframe now equally beneficial.  
For the GH6 to shine in the way previous models did, it would require a leap I feel Panasonic are unable to make.  Outstanding AF coupled with internal ND, internal RAW or ProRes, minimum 120fps 4K, 30p 8K and 6K shooting modes and countless other features to give it an edge over fullframe mirrorless.  Anything less, and many will compare it to say the S5 and ask, why?
MFT was great in its day, but let's face it, even the size advanatage is hard to factor when the S5 is on a similar scale to the GH5.  What can MFT do that other cameras with larger sensors can not?  The only question to validate a GH6 release.

I am not sure that works.  The GH5 added IBIS and 10 bit, making it a much more exciting a camera release at the time than the GH4 was back in its day.  Sure the GH4 added 4K, and it was huge, but 10 bit files is hardly a small addition.  GH3 added 60p to HD, again a huge step from the GH2.
I think each step of the GH Series has been a big step and factored in new technology, bringing new things to mirrorless camera from 1080p, to 60p 1080p, to 4K to 10 bit and IBIS.  
The GH6 would need to add something unique.  Alas 8K has already been done in fullframe, RAW with the Pocket cameras, 120fps is already covered.  What can the GH6 offer on the table to make it stand out from what is already there?  Not much.  Even internal ND has been done.   
You can't blame Panasonic if they thought that MFT had now had its day.  Technology has now caught up to make fullframe now equally beneficial.  
For the GH6 to shine in the way previous models did, it would require a leap I feel Panasonic are unable to make.  Outstanding AF coupled with internal ND, internal RAW or ProRes, minimum 120fps 4K, 30p 8K and 6K shooting modes and countless other features to give it an edge over fullframe mirrorless.  Anything less, and many will compare it to say the S5 and ask, why?
MFT was great in its day, but let's face it, even the size advanatage is hard to factor when the S5 is on a similar scale to the GH5.  What can MFT do that other cameras with larger sensors can not?  The only question to validate a GH6 release.

Heres a 'music video'. I shot using the Blackmagic 6k. It was very low budget and shot adhering to local covid lockdown guidelines.
Production
We used a Sigma 18-35mm, everyone already knows how much of a great all round lens this is. I prefer shooting on wider lenses anyway, (25mm being my go to prime). I didn't really find myself wanting to swap lenses. Also used a Hoya ProND 6 Stop on some shots, this ND does show IR pollution. I wish I had a 3 stop aswell. (Ive since sold the Hoya and picked up Nisi IRND 3 & 6 stop filters. They are cheaper and better performing than the Hoya.
We shot 6K Braw Q5 on to 2 128GB Cfast Cards. This codec is incredibly efficient we used about 450GB over 2 1/2 days. I didn't have the camera rigged at all, the camera was powered by LPE6 Batteries. The camera burns though them, I needed more than the 6 we had! The only item attached to the top of the camera was a wireless video transmitter. 
I aimed to expose 'correctly' at 400ISO.  A majority of the shoot was overcast so the DR wasn't stressed much so I found that I was often 1 stop over. In the grade I pulled the exposure on most shots down at least a stop and sometimes as much as 2/3. I recommend underexposing this camera at least a stop anyway. Even exposing for 800 shows almost no noise especially in a 4k timeline. 
All the exteriors were lit naturally. occasionally using a bit of diffusion in close ups. I just tried to use the sun as backlight as often as possible. The interiors, we used the affordable Godox SL60 and a ring light for fill.
We used a variety of grip equipment (Tripod, Glidecam, Handheld, Jib).
Grade/Post
I also graded the video on a baseline 2017 13inch MBP, we imported the timeline from premier and used the camera originals. I shot to a Kodak 2383 LUT in camera but decided to grade from scratch. Gen5 colour Science in resolve is a treat to use. It reacts incredibly naturally to contrast a saturation changes. Skintones (with tint set to 0 in the raw tab) are very natural and lifelike. On a sidenote: Gen 5 Ext Video and Video gammas are totally usable now, much more than the Gun 4 versions. Other than basic adjustments, I just adjusted the hue of greens to remove IR in shots we used ND. I also added a subtle glow to the highlights and DaVinci's built in film grain. I set exposure for each clip using the exposure slider in the raw tab and the false colour effect on a timeline node, it really helped with matching shots when the lighting was constantly changing over the 3 shoot days.   
I am still shocked by the image coming out of the 6k, it has huge dynamic range, beautiful colour science and can be pushed and pulled more than you would ever without breaking. The extra resolution meant we didn't have to rent a dolly/silder on some shots and allowed us to crop and reframe in post without degrading IQ.
 

So no DCI, no true 24p, no waveform... even the GH5 offers this... maybe we should call the GH5 a cinema camera. 😄

Why I rarely watch YouTube pieces such as the one linked above.  It tells me little and it's primary purpose is to sell the camera for the manufacturer, and increase subscribers and viewers for the vlogger.  Even the useful ones that tell me something tend to make me cringe with their same 'what's up Guys' style.

Why I rarely watch YouTube pieces such as the one linked above.  It tells me little and it's primary purpose is to sell the camera for the manufacturer, and increase subscribers and viewers for the vlogger.  Even the useful ones that tell me something tend to make me cringe with their same 'what's up Guys' style.

My first post here. Wanted to thank you all for keeping this site active and interesting! It's been a great source of information and inspiration for me. Hopefully, I'll also be able contribute to this avid community.
I've been using Panasonic since 2017 (G85 at first and now G9), thus the possible future release of GH6 interests me also. A lot of wishes regarding the GH6 have already been mentioned. Nevertheless, with the announcement of BMPCC 6K Pro, I remembered that one of my wishes with the advent of HDR video recording has been the availability of HDR screen on camera. I shoot all videos in HLG mode with intent to deliver the final product in both HDR (HLG and/or HDR10) and SDR. 
Therefore my wish or expectation for GH6 would also be the implementation of HDR monitor. With 500 nits being the bare minimum and 1000 nits possibly being the sweet spot. Yes, I understand that it would impact the battery life. But the prospect of being able to properly expose the HDR footage would out-weight the necessity for a spare battery, at least for me. Sure, I use HLG View Assist (mode 2 mostly) at the moment, but it's not a match for proper in-built HDR monitor. For this reason, a larger monitor (4" plus) would be a welcome addition also.
Altogether, HDR monitor together with built in ND filters (preferably up to 10 stops), internal 6K or even 8K (if the files are not a behemoth size) in future GH6 would spark my interest to consider it as a next upgrade. 
Let's see what the future brings.

I've already made the purchase.  Surely it makes no difference to my situation.  I'm not buying to fix an error, I'm buying because the Pocket 6K Pro has features I need.  I was planning to buy a Pocket 6K to compliment my Pocket 4K for my work.  I didn't do so to eliminate a serious problem.  I merely speculate that doing so will potentially resolve the occasional annoying issues I have with the adaptors.
I appreciate the lecture on the use of non IS Lenses.  I'm not buying expensive primes.  I'm buying standard EF-S lenses on Pockets for event filming, corporate Promos, the odd music video and some personal travel videos.  In such cases, the odd handheld use is needed and IS on 1 of my lenses is there to help such work when needed.  Mostly for my own personal travel videos as my actual work tends to rely on a Monopod and the odd use of a gimbal.
I'm not looking at a C70 purchase just yet.  Aside from the cost, the lack of any RAWlite bothers me after enjoying BRAW on my Pockets.  There is the extra cost of an adaptor for my EF lenses and frankly I prefer Blackmagic colour science to Canon.  Always have done.   I've spent several years wishing to own a Blackmagic when all my camera gear was Panasonic and only when the right camera at the right price came along, I seized it and have never looked back.  
For AF alone I may consider it in the future or something else Canon if the price is right and the specs suits my needs.  Or maybe Panasonic will fix their AF and release their own version of a C70; that is for the future; but right now, the Pocket 6K Pro meets my needs and I am excited to receive it and work with a S35 sensor again after so long.

Aperture is controlled manually.  You can lose the aperture control in some cases and not get a readout of the aperture on the camera screen.
Why not use IS on the Cinema cameras?  Is it a rule?   Did I miss the no IS on Cinema cameras instruction in the manual.  I have one IS lens which I use when I wish to handheld the camera for more travel video use on my Pocket 4K.  Shooting 105mm on non IS lens isn't advised.  Having paid for the camera, I feel I can use it as I like. 🤣🤣🤣
As I don't yet own the P6K Pro or a Canon camera, I can't comment on your point there.  Only on my situation where I have had issues with 3 adaptors.  No doubt I shall see how they perform when I get the P6K Pro and then be able to clarify if the issue is with the adaptors or not.  Don't worry, I will consume humble pie if they are not found to be at fault.
Maybe an adaptor would work well with the C70.  I'm not ruling out adaptors in the future if required.  However having had no issues with my MFT lenses and several issues with my EF lenses via the adaptors, I am biased towards non adaptors.  Maybe once I've enjoyed using a S35 camera for the first time in 10 years with my S35 lenses, I will look to something like the C70 and try again with adaptors.  For now, they're pissing me off too much to give it thought.  Assuming they are the problem.  If I'm wrong, I'll quickly tell once my P6K Pro arrives, and I'll happily concede the adaptors aren't at fault.  
Yes I was aware MFT lenses can be used, though rarely seen as encouraged by others.  Again I'm keen to take a step away from adaptors for now.  And also to invest in fullframe lenses to compliment my S35 ones for future proof.  Unless the GH6 comes out soon, I don't see much future for MFT.  Though I prefer S35 now certainly, fullframe may well be my future if video pushes that way.  MFT won't be much use then.  I don't need to use MFT lenses as I have enough EF lenses to cover my needs. 
My preference is informed but as always subject to new information and experiences.  

8Nothing wrong in wishing for AF.  Nothing wrong in wishing to win a million pounds in a lottery.  And Blackmagic giving us brilliant AF is as likely on my opinion.  I'd rather they focus their efforts in improving quality control first before attempting things like AF, which Panasonic still has failed to deliver on after a decade of hybrid cameras.  Is there anything to suggest if Blackmagic had attempted AF, it would be any better than Panasonic.
Poor AF can be worse than no AF.  The GH5 has some AF and I would find myself lazily relying on it because 8 or 9 times out of 10, it would work for me.  The problem is that time when it didn't and the image would shift badly out of focus.  Often at the worst moment.  
Not having AF has meant I must rely on manual focus and whilst this can lead to issues with missed focus, it's less obvious than a total out of focus moment that catches you off guard.  Also I find my manual focus skills improve from practise and thanks to Blackmagics large screen and punch in focus, manual focus is a lot better than the GH5.  
Yes, an AF as good as Canon and Sony would be lovely.  But is it possible?  Can Blackmagic borrow PDAF from Canon and impliment it just as well?   If not, then its a dream wish no different than one winning the lottery. 
At the end of the day, if you need reliable AF buy Canon or Sony.  

No, ProRes is limited to 4K crop.  To get 6K you need to use BRAW.  Just like the original Pocket 6K.  It's a limitation, but for me a minor one.  The URSA 12K to my knowledge only records on BRAW.   I guess we are not yet in the position to have that sensor which can do full sensor lower resolution such as 8K and 4K in a Pocket size body.

lol @ the "pro" moniker, BMD slipping, they're letting their media people name shit:
No SDI, only unreliable HMDI No wifi video, no 3rd party/1st party module for wireless video No locking lens mount No interchangeable lens mounts No recorder slot for SSD/nvme media, only unreliable USB-C Very cool. Photo body (fuck ergonomic ENG/camcorder designs) with a tilt screen and shitty NDs. I'm glad we're getting these iterative changes, moar products pls! I love when BMD stretches their staff thin, so we get less firmware fixes and improvements.
And more products means more parts to house. So when your camera dies like a year after warranty, Blackmagic will tell you SOoL, we no repair.

8Nothing wrong in wishing for AF.  Nothing wrong in wishing to win a million pounds in a lottery.  And Blackmagic giving us brilliant AF is as likely on my opinion.  I'd rather they focus their efforts in improving quality control first before attempting things like AF, which Panasonic still has failed to deliver on after a decade of hybrid cameras.  Is there anything to suggest if Blackmagic had attempted AF, it would be any better than Panasonic.
Poor AF can be worse than no AF.  The GH5 has some AF and I would find myself lazily relying on it because 8 or 9 times out of 10, it would work for me.  The problem is that time when it didn't and the image would shift badly out of focus.  Often at the worst moment.  
Not having AF has meant I must rely on manual focus and whilst this can lead to issues with missed focus, it's less obvious than a total out of focus moment that catches you off guard.  Also I find my manual focus skills improve from practise and thanks to Blackmagics large screen and punch in focus, manual focus is a lot better than the GH5.  
Yes, an AF as good as Canon and Sony would be lovely.  But is it possible?  Can Blackmagic borrow PDAF from Canon and impliment it just as well?   If not, then its a dream wish no different than one winning the lottery. 
At the end of the day, if you need reliable AF buy Canon or Sony.