Sharathc47

Questions that come to mind are the obvious, and a few not so obvious.
What is the future of the GH line and MFT?  Will there be a GH6, and if so, when?
Will Panasoninc implement RAW in their cameras?
Will we ever get great AF in their cameras?
How will they respond to the R5 and the upcoming Sony A7S II successor?
Why does the GH5 require a paid upgrade to receive vLog, when a much cheaper camera like the G100 gets it for free?
Will possible future cameras like the GH6 and S2 require paid updates for extra functions?  What is the criteria in selecting what is a paid upgrade and what is free.  Given for example Blackmagic gave users a free upgrade for BRAW.  
How does Panasonic feel the loss of Olympus affect their investment in MFT?
 

It wouldn't really be possible or make sense, since the X-T3 and X-T4 have sensors with X-Trans (instead of Bayer) filter patterns. Neither Resolve, nor any other video software would be able to process that material.
And even if you added X-Trans support to all those programs, it wouldn't be practical because demosaicing X-Trans is a computationally much more demanding process and would result in terrible playback performance.

Yeah, regarding Prores Raw licencing, I read somewhere about implementation of PRORES RAW internally in MAVO edge 8K camera, whether there were any issues regarding patents. Kinefinity replied that "Patents are restricted to US but not in other countries and we don't sell any products in US."

1. Better grip & Battery grip
2. Internal BRAW codec
3. Internal Nd
4. Tilting screen atleast
5. There should be no aliasing or moire
 
 

It seems a bit of a mystery as to why Atomos can't update their firmware at the same time as the camera manufacturer does
There doesn't seem to be a firm date given for it yet.
There is no 1080p RAW because the image in 1080p is so dodgy on the GFX 100 You have to go from 100MP to 2MP so the amount of binning is off the charts.
I am also not sure who buys a $10k 4K medium format camera to shoot 1080p in 2020 so maybe that is another reason why they didn't bother with it.
Personally I would sooner shoot with a more practical 2.8K internal RAW codec but there is no denying the appeal of the image out of the Ninja V.
More thoughts on the blog:
https://www.eoshd.com/raw-video/fuji-gfx-100-is-first-medium-format-camera-to-shoot-12bit-prores-raw-with-atomos-ninja-v/
@BTM_Pix Downloading the firmware now. I have a feeling the grain simulation is JPEG only but I'll give it a try!

I want Sigma to go all the way and build a dedicated cinema camera. They already have a complete line of full frame lenses which have developed a cult following among young DPs. No other lens set comes close in terms of speed and quality for the price.
A medium-sized modular box ( think Kinefinity/Komodo/Alexa Mini) with full frame sensor, internal RAW, built-in NDs, SSD media slot, XLR audio, SDI out, compact EVF, accessory power outputs, and of course, an L-mount. Under $10K of course. And if they manage to put in a Foveon sensor and make it work for video with a fast read-out, they'll have the best digital cinema camera out there for any price aside from the Alexa 65.

Agree that ProRes internal would be ideal just as BMD have used as a secondary codec to raw.
Internal Compressed Raw Codec (such as Braw) even if it has to be a paid upgrade would be worth it as it prevents having to mount a top heavy monitor on a slim camera.
attachable/detachable EVF is also something ive been waiting for in a Mirrorless camera. It would be great to be able to customize EVF placement when rigging up or using a slim (Unrigged) hand held mode.

My 2 cents for future fp
In order of importance for me
Phase Detection Auto Focus EVF or rear bright, high resolution OLED tilt screen Internal ND from 2 - 8 stops Internal 10-bit LOG ALL-I to CFExpress (ProRes preferably) Internal RAW to CFExpress (BM RAW would be nice) Sensor size not that important to me (ASP-C or FF) SDI out (HDMI is too bloated; licenses, implementations, patents) just give us fastest SDI data pipe out. I like physical dials front and back near hand grip Cellular modem with SIM slot (internal or some kind of slick attachment)

My wish list:
Either bring the electronic shutter of the next fp to the performance level of the Sony A9 or add a mechanical shutter to make the camera more usable for stills photography, too. Get rid of the 0.1s shutter lag. Implement compressed CinemaDNG in non-US regions where RED's patents don't apply; in the US, simply block them in firmware. With compressed CinemaDNG, 6K RAW image recording could even work on SD cards. Implement Log, and apply the Log curve to 10bit and 8bit RAW so that its recorded values are more sensibly distributed (and the material can be better graded without falling apart). Work with software manufacturers to have the Log curve supported in their programs, including Resolve and its "Color Space Transform" function. Provide IDTs for ACES. Replace the back wheel with a more solid wheel that stays in place and doesn't accidentally rotate. Replace the AEL button with a wheel that can be pushed in - so that there would be 3 wheels in total, for shutter, aperture and ISO control, or alternatively audio level control. Allow simultaneous focus peaking and zebras, and focus magnification during recording. Replace, if possible, the micro HDMI port with a full-size HDMI port. Make the "Tone" and "Color" buttons user-definable. Make the photo shutter button user-definable in cine mode and vice versa. Stick to the same, tried-and-tested Sony 24MP FF sensor.

The Z-Cam folks definitely seem receptive. In many ways they're a model for what more companies should be doing. You can't compare them to anyone else in the camera game when it comes to listening to their user base, they're unmatched. I don't know that they'll be able to continue that as they get larger, but I certainly hope so! 
The users though are definitely fervent, and it's not always endearing. It seems your best bet, before criticizing anything, is to heap praise first or risk getting their fan base riled up. 
I watched Gerald's original review and I thought it was fair, and pointed out serious issues. I really didn't expect it to get the reaction it got. 

The main problem with the camera's RAW video still persists, even with external ProRes RAW/BRAW: It doesn't record a pixel-to-pixel 6K sensor image, but scales down the RAW from 6K to 4K - so that you get a pseudo-Bayer pattern with all kinds of visual/line skipping artefacts.
 
:-((

This is a very strange one to me. I've seen online tests as well as examples from shoots I've been on of the Pocket 6k having really great dynamic range. Yet Blackmagic claims it has less dynamic range than the Ursa Mini and the same dynamic range as the Pocket 4k. Cinema 5d measured it at 11.9 stops while measuring the Ursa at 12.6. 

I tested the Pocket 6k against the URSA, both at 800 iso and the Pocket had more highlight and shadow information, by a good amount. If the Ursa has 12.6 stops of dynamic range the Pocket 6k has got to have over 13 maybe 13.5. 

I'll probably post the tests if anyone is interested. 

The new firmware (v0.95) enables ProRes RAW over HDMI to Atomos recorders on all E2 models. This includes the $800 E2c. This means that the E2 series now has not one, but two different Raw formats.
I'm sort of surprised the Z Cam is still barely talked about here. It checks a lot of boxes that people complain about with the P4K. The entire series now has H.264, H.265, ProRes, ZRAW, and ProRes RAW recording capabilities, plus incredible frame rate options at full sensor width on the E2, multiple crop options and aspect ratios, low rolling shutter, long battery life, and incredible build quality. I recently got one, though probably won't have any projects to use it on for a few months.

Speaking as an experienced FPGA design engineer, if you can implement it in an FPGA you could put into an ASIC (or into software, depending on how fast you need your processing to run).
There is nothing magic or special about FPGAs other than their basic ability to be user programmed/re-programmed, which is their 'Unique Selling Point'. That makes them very attractive for low to medium volume products which need high-throughput data processing - instead of sinking a lot of up-front development capital into an ASIC. It also makes it a lot easier and cheaper to fix bugs and add features after you've launched the product.....

Blummin heck. So you can begin to see what roadblocks the manufacturers face when it comes to RAW codecs.
If BRAW is tied to Blackmagic FPGA that is a completely 360 degree turn away from ASIC and your power economy goes out the window.
If ProRes RAW encoding also needs FPGA hardware, the heat management and battery life problems again scupper that.
If RED's patent prevents decent compression, then we have a situation where costs increase or a licensing / patent transfer takes place. Canon RAW is compressed but file sizes still huge. And RF mount on Komodo suggests that compression wasn't free of charge. Sigma Fp uses uncompressed Cinema DNG, so again file sizes are an issue there too.
H.265 ALL-I 10bit is a good solution if you look at it that way.
And is good enough for 99% of cases. Maybe RAW is overrated when you actually compare the graded end results.

I'm almost certain I recall Blackmagic RAW is free to license. I'm not so sure they could specifically charge for it. Of course that wouldn't stop them from simply charging more for the camera.
I've played around with the codec and really like it. I would love for it to be in a Panasonic camera. This would definitely drive me to purchase a GH6 and finally a copy of Davinci Resolve Studio.

What's to stop BRAW being used by Panasonic internally?

Isn't internal/external recording more an issue with Prores Raw licensing than with the camera's ability to do so or not? 
Not sure if this has been officially stated anywhere but I highly suspect the reason Panasonic made a partnership with Atomos was because the latter carries the license burden.  So I would imaging Fujifilm taking a similar approach or else it might have to be a paid upgrade to offset the cost of licensing. 
Canon, on the other hand, is able to offer internal raw on the R5 so matter-of-factly because they have their own Cinema Raw codecs. 

I have shot this video using GFX100. Autofocus in video and lack of slowmotion in 4k are drawbacks. but  image and handling are better in GFX100 than Xt-3. I wish they really add better Phase-detecting system and add full frame 4k 60fps. 
 
 

Wolfcrow tested out the 1dxIII extensively on a job and praises many things, but rolling shutter performance in 5,5k raw is not one of them. It’s really bad (which makes me cautious about both the R5 and R6) But the image is as expected gorgeous.
https://wolfcrow.com/canon-1d-x-mark-iii-real-world-review-for-video-and-cinematography/

Any idea if it's 10 bit 4:2:2 or still 4:2:0 like the X-T3?

I am very sad for 30min recording limit in 24-30p of any resolution. No promised wdr mode too. 

No mention of bit depth etc, wishful thinking that they’ve added 10bit 4:2:2?

BRAW is an open source codec! What does this mean? Can it be used in other cameras without paying any money to Blackmagic? If so why no one still paying any attention to it?
Why Prores why not BRAW?