Super8

I can adapt pretty much every lens ever made onto my GH5; I've never felt like I had to settle in that regard, outside of budget or availability.
I find it easy to get the color I want, with minimal tweaking unless I'm looking for something more stylized. Getting the kind of DOF that I want also has never been a problem for me. 
Ultimately it all comes down to personal preference. I've never been happier with a camera. I've never felt limited by it, at least not to the extent that there wasn't anything I could to get around it. I originally got it for event shooting, and have started to dabble in more narrative style stuff and I credit the GH5 for that. 

Live now, express yourself now. What's the point about just evaluating, calculating, being scared of lose or what will be better money future investment, instead of using any of marvelous option and sharing results? We are at the peak of possibility to do it - maybe mostly grateful to m43 offer. At some point we will not have capability or existence to do it - I know we all know it, but just to remind 

Things tend to look good when you’ve dropped 10s of thousands of dollars on equipment? I think the GH5S is the best MFT camera because I own it 😁🤣

Yes, I have a little bit of that as well. I'm very critical of myself and others. But that's why I want to direct. I'm more critical of others and think I can do a better job. Sometimes I'm wrong...😅
I started a documentary project two years ago and I'm finishing it next month. My biggest lesson from it is that it's better to do than not to do. That famous sentence that perfect if the enemy of the good. Yes, I made plenty of mistakes but learned a lot. And next time i'll have those mistakes in mind. If I stayed at home, thinking of projects and criticing others in my head, I wouldn´t have meet a lot of great people and do some of my best work with this series.
I had some friends that didn´t believe on the project and bailed on the beginning. I understand some of the reasons for bailing, since it was a long project with no money at all. When they saw the rough cut, they regreted not being part of a project like this. A "big" finished project ( big as in length of the final videos ).
If you make the jump to a video, project, etc it's not only the reward of finishing something, it's also the places you visit and the people you meet on the way.
It's better do to than not to do. If you make something, it can lead to more opportunities in the future. With better conditions. And you'll have more experience to do a better job. If you do nothing, nobody will know of your best ideas and intentions.
As a direct answer to the title of this topic, video is difficult but that's why it´s so rewarding when you make one. 

I've directed 3 times, and each time I cannot let the project go. I cannot give myself a deadline. I need a producer or someone above me to tell me to STOP. I will tweak something until I hate it. Hating myself the whole time. I am hyper critical of myself when I'm in charge of everything.
I work far better, and have a much better level of mental health, when I'm working on someone else's project.
Does this mean I'm a bad director? Yes. Yes it does, which is why I don't enjoy it. It is why I'm not a director, and why not everyone should be a director.

So many times I wish I were a photographer instead
You can get a beautiful shot with a camera that looks the same whether moving or still...
But movement always has to justify itself.
If the frame floats or moves with IBIS, shot dead. Mood gone. It's such a fine art. Camera movement is such a fussy thing. It's like colour - There's no point it being there unless the movement is beautiful or has meaning. Otherwise, may as well be still - or black and white.
With a photo you can just make a pretty shot and it's job done. It's about timing, framing. With video you have to sustain all that's nice and has meaning for 10x longer. Sometimes 1000x longer.
With photos there's the one-man nature of it... with video, you have to rely on others a lot more - actors, writers, and so on. And that's before you've even started the shoot
Sometimes I hate video.
And think I'd be better off with a Fuji GFX 50R, just enjoying myself.
Just one man and his camera.
With video, you often have to lug around rigs, tripods and monitors.
To anybody who sustains their filmmaking over the years at a high level I salute you. It must be incredibly stressful!

The MagicLantern project is pretty much dead - the last nightly builds are from July 2018:
https://builds.magiclantern.fm/
There are only some (or just one?) individual developers who keep hacking individual camera ports and offering their own builds off-site.

At a quick glance it might be useful for people to see what's available that shoots 4K - everything stills-video (not camcorder), with a large-ish sensor and 4K video. Here's my list off the top of my head. I'll add to it based on your suggestions and I've missed!
Full frame 4K
Canon 1D X III Canon EOS R5 Canon EOS R6 Leica SL2 Leica Q2 * Nikon Z6 Nikon Z7 Nikon D850 Nikon D780 Panasonic S1 Panasonic S1R Panasonic S1H Sigma Fp Sony A7 III Sony A7S II Sony A7S III (Soon) Sony A7R II Sony A7R III Sony A7R IV Sony A9 Sony A9 II Sony A99 II * Fixed lens 28mm
Full frame but cropped 4K
Canon 1D C (1.3x) Canon 1D X II (1.4x) Canon 5D Mark IV (1.8x) Canon EOS R (1.8x) Canon EOS RP (1.8x) Leica SL (1.5x) Nikon D5 (1.4x) Super 35mm full width 4K (APS-C)
Canon M6 Mark II Fuji X-H1 (slight extra crop) Fuji X-T2 (slight extra crop) Fuji X-T3 Fuji X-T4 Fuji X-T20 Fuji X-T30 Fuji X-Pro 2 (Firmware update) Fuji X-Pro 3 Fuji X-E3 Fuji X-A7 Fuji X-T200 Leica TL2 (no 24p, 30p only) Leica CL (no 24p, 30p only) Nikon Z50 Sony A6100 Sony A6300 Sony A6400 Sony A6500 Sony A6600 Samsung NX1 Micro Four Thirds 4K
Olympus E-M1 II Olympus E-M1 III Olympus E-M5 III Olympus E-M10 III Olympus PEN E-PL9 Olympus PEN E-PL10 Olympus E-M1 X Panasonic GH4 (2.3x crop) Panasonic GH5 Panasonic GH5S (1.86x extra wide sensor) Panasonic G9 Panasonic G7 (2.3x crop) Panasonic G85 (2.3x crop) Panasonic G90 (2.3x crop) Panasonic GX9 (2.5x crop) Panasonic GX8 (2.5x crop, old model not recommended for video) Panasonic GX85 (2.3x crop) Yi Mi 2x crop 4K or more from APS-C sensor
Canon M50 Canon 90D Canon 250D  Nikon D7500 Nikon D500 Samsung NX500 Fixed lens and crop sensor
Fuji X100V Canon G7X III Canon G5X II Leica D-LUX (LX100) Leica D-LUX7 (LX100 II) Leica V-LUX (FZ1000) Leica V-LUX5 (FZ1000 II) Panasonic FZ1000 Panasonic FZ1000 I Panasonic FZ2000 Panasonic LX100 Panasonic LX100 Mark II Panasonic LX10 Sony RX100 series (from M4) Sony RX10 series (from M2) Sony RX0 series Medium format 4K
Fuji GFX 100 Hasselblad H6D 100C Hasselblad H6D-400c Leica S Typ 007 (Super 35mm crop only in 4K) Leica S3 ---
List updated: 13th July 2020
No pro video cameras. Has to be a stills camera and be able to shoot 4K. Can be either DSLR or mirrorless.

could be kinda interesting it seems aimed to be paired with alpha series..

 

A few of the recent videos from this person in Japan use the S1 to great effect: https://vimeo.com/yasunariarai
Here's one for example; If you explore this person's videos you'll also fine some really excellent work (best I've seen) using the Sigma FP.
 

As @thebrothersthre3 pointed out, shooting the S1 in 6K and then down-resing in post to 4K or 1080p will give you less noise, hence giving you more dynamic range (since with the 4K image of the S1, you might have to crush the shadows a bit to get rid of the noise, although i find the noise pattern of the S1 to be minor and more film like than my Sony or Nikon cameras).

Cinema 5d measured the S1H having more dynamic range in 6k. Overall they seem to be the same sensor and same performance. The S1 is limited to 150mbps Long gop while the S1H can do 400mbps all-i. I personally never noticed a difference between 150 and 400 on the GH5 but can’t comment on the S1 vs S1H. If you want to get the S1H for the 6k keep in mind you can’t monitor externally when shooting 6k.

You're right. But a V90 or V60 card could easily have handled the necessary bandh width for both 4k at high bitrates, and well as RAW photo buffer (as one would notice from the Sony A7iii, which had 2 SD card slots, one of which is strangely UHS-I). The quality difference between the 150mbps and 400mbps is so minor, that most people prefer using the 150mbps codec. 
Panasonic can still re-release the S1, with a lower resolution EVF (this one with the higher resolution and refresh rate was probably also nesting into the battery) and LCD, and price it at $,2000 (or better still, at $1899), and it will outsell many other full frame cameras.
Panasonic also needs to ensure that its lenses are smaller and lower priced for the L-mount. Sigma is obviously at it, it probably just needs to hurry up.
After the A7iii, most full frame cameras are finding it difficult to price themselves above $2000  and sell well enough. Especially if they can't match the autofocus, shooting speeds, and battery life, among other things.
Panasonic will really have to make some seriously tough  decisions for the GH6. It has to be Below the $2000 Price, and thus not have any unnecessary hardware features that would increase its price. Because it becomes even more difficult to justify a M43 camera costing more than a Full Frame Camera. Plus, it would have to add some features that even full frame video shooters don't have (limitless recording, maybe audio bit depth, much higher video and photo shooting speeds, more high res photo options, maybe smartphone-like HDR, multi-frame video HDR, superb dual ISO etc). 

Not good?! It's phenomenal silicon. I have no idea how Canon is even contemplating that much data... 45 megapixel at 40fps is astounding. And all that has to be compressed to complex H.265 at up to 30fps as well. So not only is the sensor readout bandwidth extreme, the image processor behind it is a massive step up for Canon.
Where is Sony's 8K in an A7?
A7 III chips are older than yesterday's reheated oven chips.

Not the Canon R5, the Olympics 😋

I've had similar IR issues with footage I've received from the Ursa mini but nothing as severe as the above with the P6k. @Super8 is right that by the time a colorist receives footage, it's rarely raw anymore, if it ever was. For instance any visual effects shots are going to be delivered in ProRes or DPX or something even if the project is shot in raw.
I expect the IR pollution shows up in the monitors but is lost in glare. I saw it happen on a Red MX shoot too, but not nearly as bad. It's a real problem. Pro ACs and operators can pull focus better than you, but they're not necessarily knowledgeable about prosumer video.
A few years ago I remember reading in ASC mag I think about a network series shooting Alexa in ProRes 422 1080p instead of HQ I think? As bad as your storage issues might be, imagine scaling them up across an entire series... A lot of the time amateurs and small post houses are way ahead of larger studios technically. You can afford to shoot raw. NBC can't. I suspect this has changed to an extent by now, of course, but it's worth considering what luxuries we're granted in different segments.
It's also true that raw isn't the same across cameras. Disregarding the potential for IR pollution, etc. different sensors have different noise levels and different chromaticities based on the dyes used. I worked with a DP who was on the ACES board or knew someone on it–or something–and manufacturers would send in data from their sensors. There're all sorts of differences between them. If I remember correctly, Red, for instance, had green and red chromasticities rather close with its early sensors, so you got ruddy foliage but then the Panavision DXL fixed this with software and you could grade it to mitigate it pretty well anyway. Apparently the C200-generation Canons have a special Bayer array to capture a much wider gamut than their predecessor so they can be used in BT2020 workflows. Granted, raw footage can be graded with more flexibility than raster in general, but raw footage isn't necessary as interchangeable across camera systems as would be ideal. Of course the whole point of ACES is to equalize things as best possible so it's not entirely hopeless matching cameras. But the raw signal from an Alexa is going to be way better and way more flexible than the raw signal from a less expensive camera. 
I forget what the original argument was. 
But amateurs have advantages larger studios don't in all aspects of production. I talked with a grip who'd worked on an Adam Sandler movie and they had these massive nets and 18K HMIs set up primarily so they wouldn't have to wait on cloud cover. Not even because it looked better, but because it was too expensive to wait. Chances are you can afford to wait on cloud cover. Or even wait until golden hour.
Likewise a GH5 will fit on a gimbal an Alexa rig won't. And on and on...
This might be a lesson to me more than anyone else, but I think it's worth mentioning: play to your strengths. You might have better luck with a Pocket 6k than Warner Brothers does. Everything I've seen from the Pocket 6K indicates it's the best price/performance around. It looks a lot like a 6K Alexa to me. That doesn't mean it's the best for every workflow by any means, though. One of the advantages of the Alexa is how easy it is to operate if you're someone who's used to shooting film. The menus are minimal and interface relatively simple.

I am sure a lot of bad footage you see online from blackmagic cameras is from people not using IR cut filters.  All blackmagic cameras even the Pocket cameras need them. Another issue is just white balance that is off. Unless shooting RAW if you rely on a faulty auto white balance or simply don't manually white balance correctly you will have funky colors. I've seen plenty Canon footage that looks pretty whacky that I attribute to bad WB, same with Fuji. One of the huge advantages of RAW, probably the biggest for me at least. 

Honestly that is one of my big issues with Black Magic. Their reasons for not including IR cut filters built in are stupid. Thankfully you can install one in the Ursa mini without having to use ones you put infront of the lens. 

 

Just popping in to say that I quite like Deep Impact.
Coincidentally, this thread couldn't have been more destroyed if it had been hit by a giant comet either.

I beg to differ.
SIgma Fp full frame RAW output to SSD
Panasonic S1 V-LOG 10bit 422
Nikon Z6 ProRes RAW
And arguably GH5S codec is pretty good looking.

What a bunch of nonsense. You think you know me but you don't know shit. I'm probably one of the most brand agnostic persons around here.
While I have my preferences when it comes to camera companies for various subjective reasons, I started photography on Nikon equipment and still shoot film with them. Did a lot of work on the D750. I was one of the first here to go all-in the Fuji hybrid revolution with XT2. My favorite camera is my Leica M9P. I've owned the A7S2 and I also currently own a Sony FS7, my professional workhorse. Finally I won't hesitate to rent a RED/ARRI or whatever if budget/crew allows it. Oh and I won't even go into lens manufacturers.
So you see trying to pigeonhole me as a Canon fanboy is pretty ridiculous. Its not cuz I enjoy a particular camera, that I hate others.
I stand by my word about EOS R. As flawed as it may seem, for my personal usage its a great hybrid. 
Laugh all you want.. IDGAF. I work within camera systems. The body is only one element..
That said, I never stated EOS R was perfect or better than any other camera. I only defended it against attacks of those that thought it was a useless POS. Most of whom never even picked one up.
And that's one thing I don't understand in these forums is people talking shit about gear they have never touched or have any intention of using. That to me is true fanboyism. 
Cuz see you're attacking me for a camera I appreciate. It's so stupid man. 
Doesn't make me a Fanboy. It does however make you look like a Hater.

lol you are as much of a Canon fanboy than the Sony fanboy you mention. 
Even when Canon ridiculously failed deeply with the EOS R your were saying here on EOSHD how great it was. What a joke. 
Personally I don’t understand at all fanboyism for a camera brand. Who cares if it’s Sony Canon or Nikon, I couldn’t care less about the name. I am bashing what’s wrong, and praising good stuff.
When the 5D2 was out I was applauding. That’s why I bought it. When the EOS R was out I was laughing hard. Sony did an excellent job with the A7III when it was out. That’s why I bought it. 
The R5 looks absolutely fantastic and will most likely get it to replace my A7III. 

My house, my rules.

I knew Sony would flake on us... again. 
A7S3 is vapor ware.
XDCAM managers are too afraid to give Alpha line the kind of power it would need to compete.
They’re basically in limbo over that camera.
Meanwhile Canon leapfrogged the whole industry and are going for the kill.
Its funny listening to the R5 bashers, most of them shook fanboys.
When Canon falls behind, they get ridiculed. If R5 had normal specs, they would say they are late to the party. Now that they’ve exceeded everyone’s expectations, they claim it’s overkill.
In Japan 8K isn’t that far fetched, some channels are already broadcasting it.
Apple has had 5K iMac’s for years,  and I saw today on YT an 8K laptop review.
Speaking of YT they already stream 8K content and it already looks pretty crazy on my 5K iMAc Pro.
8K will allow you to crop & get even better 4K.
While nobody here really needs it, it’s still cool it’s there and trust me it will pave the way for other 8K cams, computers, monitors etc. And first and foremost content.
4K120 is also pretty damn sick considering 4K60 is still absent from most FF cams.
I won’t even talk about internal RAW, ergonomics or CS.. 
Anyways it’s funny seeing how the tables have turned in just a generation gap!

I was called by Nikon Support yesterday, and they told me that there will be a firmware update for the problem, maybe in the next or the one after the next. 

Colour is subjective (I actually prefer Panasonic colour science since EVA, S1 etc), the rest of these you're just guessing, IBIS and DR of the S1, SH1 are going to be hard to beat.
Hope you're right as progress benefits all of us but your Canon love in and trashing of the BM Pocket is a little OTT