FHDcrew

Interesting.  I'm curious, how are you converting to rec709?  Are you using Nikon's 3d LUT?  I shoot in NLOG frequently on my Nikon Z6, and i find that Nikon's 3D LUT has pretty bad highlight rolloff.  I get significantly better results if I use Davinci Resolve's Color Space Transform to go from Rec2020/NLOG to Rec709/Rec709.  Seriously, looks wayyy better than the LUT.  You should be able to get great results from NLOG; give Davinci's CST a try.

Interesting.  I'm curious, how are you converting to rec709?  Are you using Nikon's 3d LUT?  I shoot in NLOG frequently on my Nikon Z6, and i find that Nikon's 3D LUT has pretty bad highlight rolloff.  I get significantly better results if I use Davinci Resolve's Color Space Transform to go from Rec2020/NLOG to Rec709/Rec709.  Seriously, looks wayyy better than the LUT.  You should be able to get great results from NLOG; give Davinci's CST a try.

I bit the bullet and bought a z8.  I've done a bit of testing and couple of shoots.  First impressions are not great.
I need to do some more scientific testing this weekend, but the highlight rolloff and lack of dynamic range make the 10 bit h.265 look worse than my 8bit z6ii.  I was keen to get the raw video for those times where I wanted the best possible quality, but kinda hoping and expecting (from the general comments/videos/raving I've seen) that the h.265 would be a step up from the z6.  The stills dynamic range isn't quite up to my 11 year old d800 either.  And today I found the autofocus hunting a bit in low light.  Seeing as my bread and butter shooting involves low light and very high contrast I'm not sure it's the right fit for me so far. I've tried ramping up the d-lighting but meh.  

Anyone know if the highlight rolloff improves with pro res?  I really don't want to shoot raw for my little shoots - $7K AUD to make my life harder 🤦 

I really love high dynamic range stills cameras, I don't think there's one hybrid camera in sony's line up that is a good fit either. It's kinda depressing knowing that I could increase the quality of my output by shooting stills consistently with that 11 year old beastie. 

@PannySVHSi wanna see your shoot with the F3 😏

For me M43 will always be the ideal system, it just got caught up in the specs race. And for a while, it was leading, but slowly the advantages that made it attractive to me started to dwindle because the wanted to appeal to a customer base that wasn't going to buy into M43 no matter what, which resulted in larger bodies and phasing out smaller ones.
Tiny bodies with exceptional photo and video capabilities interest me more than a GH6 or a future GH7, but they've seemingly abandoned that market completely. If they'd released a GH5 (or GH6) in the body of a GX camera I honestly would've held out and kept one foot in the M43 system, because that kind of setup, with the right lenses, is something that full frame will never, ever be able to achieve. Full frame will never be able to match the compactness of a GX body and the 12-35 or 35-100. Those lenses with the GX85 were probably my favorite set up I've ever used, especially for concerts and getting into venues that didn't allow "professional" video gear. No one ever looked twice when I'd bring that set up with me! As much as I loved it though, the limitations made me sell it last year. 
The problem is, I don't know if there is even a big enough market for cameras like that anymore. I assume if there was Panasonic would've continued it? It's hard to imagine that heading into full frame didn't impact the R&D that went into M43 though, which feels like the bigger culprit. But it seems to be paying dividends as the S5 II and S5 II X are being well received, so I guess it's hard to fault them with seeing the writing on the wall? I don't know. I just think it's a shame that we will probably never see what M43 is truly capable of, because I think we COULD see even smaller bodies and lenses without significant compromises if the resources were allocated to do so. 
I don't think people should rush to offload their M43 gear because there are still some years left in it, and there absolutely are benefits over full frame. I'm sure I'll miss my trusty GH5 once I do my first shoot without it, I was prepared to keep it for a couple more years and didn't have much reason to want to upgrade. But I was just given an off ramp that I kind of had to take. Selling the GH5 and the 12-35mm paid for the S5 and (excellent) kit lens, not to mention what i got for the others, so I ended up ahead financially. Plus having three of the same cameras will make things easier for me. But there's still a lot to love about M43.

We also have 2 Panasonic FZ1000s which are solid camcorder replacements in their own right.

I have a Panasonic G7 collecting dust after upgrading to my Nikon Z6 + Atomos (haha)....I should probably put it to use as a B-CAM or something.  Still a great camera.  At my church we livestream with one of these, using a Tamron 14-150 MFT lens, giving a wide zoom range and image quality that blows a comparably-priced camcorder out of the water.  Clean HDMI up to 4K...can be hacked for no internal record limit...has microHDMI but that is easy to clamp...such a great live-streaming camera and/or a camcorder-killer.

You really can't. For me, I never cared about the sensor size, it was the compact set ups that really appealed to me. I never felt like I was compromising much at all shooting with M43 and with Lumix cameras. I could work around their limitations (and continue to do so with my S5s) because what I was getting out of them was so good, especially for the time. My favorite combo of all time might genuinely be the GX85 and 35-100mm. So small, and the footage you'd get out of it was soooo good.
I was given an exit ramp that made too much sense. 

After my close friend decided to upgrade to the Lumix S5 II X he gave me an incredible deal on his Lumix S5 that I couldn't pass up. As a result I just finished packing up my trusty GH5, 12-35mm mk II, 35-100mm mk I, 25mm, and 14mm to ship off to MPB. For the first time in nearly a decade I will no longer have any M43 cameras or lenses. I think my time in the system has finally come to an (unplanned) end. 😞
I'm feeling some kind of way about it right now, honestly. I still believe in the promise of M43, I just don't know that Panasonic will ever realize it or if the market will ever be there to make it viable. It's a damn shame, honestly. I'll be happy with my full frame cameras, and having three of the same bodies will make things a bit easier for me, but I still can't help but wish there was a professional level compact M43 camera that could fit my needs and fit in with my two S5 bodies. I just don't see it happening. 
I had planned to always have at least one M43 camera in my kit. Eventually I was going to upgrade to the GH6 in a couple years, once they were even more affordable on the used market, but I couldn't pass on another S5 with kit lens for $750, so plans changed. It just didn't make sense to keep the GH5 and follow through with my original plans anymore, as these three S5 bodies will get me through until I can snag some S5 II bodies in a couple years when people upgrade to the latest camera.
The GH5 was a total game changer for me and my work. I'm sad to see it go, because in many ways it did things that I never thought a camera would be able to do. It really cannot be overstated how much the IBIS changed things for people like me. I no longer had to set up a cumbersome shoulder rig, I could simply hold it and get steady shots even as I rushed around a wrestling ring and dodged people flying all over the place! Life goes on though, I guess.
 

I know the feeling...not a m4/3 fan myself, but the feeling of an era coming to an end with letting go of beloved camera systems. For me it was my FS100, I got so much out of that camera over hundreds of projects it still holds a special place of nostalgia in my heart, even though it was technically a terrible camera in many ways. 

Would love to see some of that C500+Odyssey goodness.
 
@FHDcrew  Right, Z6 becoming an old school cam, though still with a sensor performing some of the best lowlight / dynamic range and image quality. Instead of the 50d I'd reccommend the EosM, instead of a GH1 one might wanna get a G6.

It seems that it's only being tested on web, and that it still needs more work...
I click on it, it says I need Premium membership (which is odd considering I'm logged in and the YT logo says "Premium"), then when I click on the "Get Premium" button it takes me to a page that says the offer isn't available and I need to go into settings to manage my subscriptions and purchases.
I'm part of a YT Premium Family Sharing account, so maybe that's the issue.

Honesty stuff like this makes me wish Apple would take their phone processing and put it into a super 35 sensor one of these days...Can you imagine if we had modern smart phone processing in a quality Sony chip?

I would give up all three as long as DR remained in the 12-13 stop territory. 

I use a 6k timeline and upscale my 4K but then export the finished production as 4k.
The amount of 4k is maybe 20-25% but I’m not the techiest of guys when it comes to this kind of thing so go on ‘if it looks right it is right’.
I’m guessing this might be why editing these days on my M1 chip MacBook Pro feels like wading through mud?
Just ordered a 16 inch M2max version to replace it and a desktop so I can do photo and video on it.
Currently doing photo on the desktop and that is always mud wading 🤪

I was quite excited when Apple introduced prores support, thinking that it would mean that images would be more organic and less digital-looking, but wow was I wrong - they were more processed than ever.  I think the truth is hiding partly behind that processing, where the RAW image from them would struggle in comparison.
I shot clips at night on my iPhone as well as other cameras, and I noticed that the wide angle camera on my iPhone was seriously bad after sunset - even for my own home video standards.  I did a low-light test and worked out that the iPhone 12 mini normal camera had about the same amount of noise as the GX85 at F2.8, but the iPhone wide camera was equivalent to the GX85 at F8!  and that was AFTER the iPhone processing, which would be way heavier than the GX85 which had NR set to -5.
Apple says that the wide camera is F2.4, so basically the GX85 has about a 3-stop noise advantage.  There are lots of situations where F8 isn't enough exposure.  
I'm not sure where we're at in terms of low light performance, but this article says that this Canon camera at ISO 4 million can detect single photons, so there is a definite limit to how large each photosite can be.  Of course, more MP = less light in each one.
In terms of my travels, I still prefer the GX85 to the iPhone when I can - being a dedicated camera it has lots of advantages over a smartphone.

Lots of them are, but as you brought it up, here are my impressions on the above:
It's still far too sharp to be convincing - I noticed this in the first few seconds of the video - TBH my first impression was "is this the before or after footage?"..  of course, once you see the before footage then it's obvious, but it didn't immediately look like film either The motion is still choppy with very short shutter speeds - this would require an VND which isn't so easy to attach to your phone I think that people have some sort of hangup about resolution these days and as such don't blur things enough.  For example, here are three closeups from the above video.
The original footage from the iPhone:

Their processed version:

A couple of examples from Catch Me If You Can, which was their reference film:



As you can see, their processed version is far better, but they didn't go far enough.
I've developed my own power grade to "de-awesome" the footage from my iPhone 12 Mini and detailed that process here, but here's a few example frames:





I'm not trying to emulate film, I'm just trying to make it match my GX85.  Here are a couple of GX85 shots SOOC/ungraded for comparison:


I haven't got the footage handy for the above shots, but here are a few before/afters on the iPhone from my latest project from South Korea.
iPhone SOOC:

iPhone Graded:

iPhone SOOC:

iPhone Graded:

iPhone SOOC:

iPhone Graded:

I'm happy with the results - they're somewhere in between the native iPhone look (which I've named "MAXIMUM AWESOME BRO BANGER FOR THE 'GRAM") and a vintage cinema look.  My goal was to make the camera neutral and disappear so that you don't think about it - neither great nor terrible.
Going back to Dehancer / Filmbox / Filmconvert / etc..  these are great plugins actually and I would recommend them to people if they want the look.  I didn't go with them because I wanted to build the skills myself, so essentially I'm doing it the hard way lol.
The only thing I'd really recommend is for people to actually look at real film in detail, rather than just playing with the knobs until it looks kind of what they think that film might have looked like the last time they looked which wasn't recently...  I keep banging on about it because it's obvious people have forgotten what it really looks like, or never knew in the first place.
And while they're actually looking at real examples of film, they should look at real examples of digital from Hollywood too - even those are far less sharp than people think.  The "cinematic" videos on YT are all so much sharper than anything being screened in cinemas that it's practically a joke, except the YT people aren't in on it.

Well now, that sucks. The GH5 was the first great consumer camera, in my view, and is not irrelevant today.
I moved from that to a GH6 and then S5ii within the last 12 months. Comparing GH5 to S5ii the only major differences for me are AF, 2 stops more in the highlights, and full frame versus 1.29x crop with Speedbooster. That's all. And my videos look basically the same as they did before.

Id pay good money for that alone imagine going light without cage! and extra cables dangling around.

It is for acquiring plates though. DSLR's have been used for a while for crash cams or things like this. I remember the 5d was listed on the Avengers. Not really going to be ever seen as an A, B or even C cam on a major production. This isn't to discount the GH5 or any other camera just being realistic.

There are some good voices on youtube. Most channels are selling cameras though so of course they are not going to promote old stuff. Consumerism is definitely in full swing though and the filmmaker market is insane in this regard. There is a recent trend to do reviews of old cameras which is refreshing (maybe saying it is a trend is exaggerating it).

To add to my post, external recording is the biggest thing I would give up. Being able to record 12-bit RAW internally would be idea. I wish camera manufacturers would add uncompressed CDNG recording to their flagships. Compressed RAW is such a mess…patents and external workarounds…and then one does not necessarily have freedom of choice when it comes to what NLE to edit the RAW footage in…unless one converts. 
 
Give us uncompressed RAW to the card. Or give us Prores 4444 12-bit. The codec everyone has forgotten about 😆 

I have already given up RAW, battery life, size and resolution for dynamic range, color science, and fast readout (the Alexa Classic).

Dynamic range and color science are top priority for me and then sensor readout speed. After that battery life, then weight and then resolution.

My a7s iii has all the bells and whistles, so i cannot imagine downgrade sacrifice one bit of it ! other than external modules like heavy ass ninja V that i have to carry around with me 😮‍💨 for manny reasons such as bright monitor & 12bit raw yada yada yada and so on 😅

I'd give up resolution, viewfinder, any type of raw, photo capabilities. In my book the perfect camera would 14+ stops of real dynamic range, solid 4k up to 120fps, good IBIS, autofocus, ND filters... The only things that hits really close to all of that is the Sony FX6, but it's a bit out of what I can afford. Thinking of picking up a used FS7 one of these days as the prices come down

Yep and there is also the S1 which gives a bigger body and full size hdmi, also an awesome cheap alternative to the S5 II. If I weren’t already using my Nikon Z6+Ninka V & Star, I would probably be shooting on the S1.