“I got this from a very reliable source:
They will change strategy here. MFT will focus on the V-Logging segment. They don’t see a huge market for a GH6 anymore as most people are moving to Full Frame. So the upcoming GH6 may be more a “Pro Grade” G100. It’s more of an upgraded GH5 in a new body with enhanced mobile integration. Or to make it short – a GH6 may not come with the desired specs and the story of the Pro Video MFT will end with the GH5….”
“MFT will focus on the V-Logging segment.”
Say it isn’t so!
The Micro Four Thirds format has plenty of potential for serious video work, especially amongst self-funded independent documentary moviemakers, so long as Panasonic radically improves its DFD autofocusing to the point where it matches that of Sony and Canon’s PDAF autofocus.
Micro Four Thirds remains a great stills photography format, especially for documentary photography and especially when MFT raw files are processed with DxO PhotoLab and its plug-ins DxO FilmPack and DxO ViewPoint.
If print size is a consideration then try applying Topaz Labs’ Gigapixel AI and Sharpen AI if warranted.
I certainly rely mostly on manual focus and back-button focus with my Lumix MFT cameras, but I would certainly use autofocus far more if it equalled that of Canon and Sony.
No question about that.
Despite the frequently-expressed desires of myself and many others, it looks like Panasonic will never release a pro-quality successor to the GX8 rangefinder-style hybrid camera.
GX8-style cameras are an excellent expression of the Micro Four Thirds ethos being small, nimble, discrete and versatile in comparison to the larger, heavier and less discrete DSLR-style GH line.
Panasonic’s Lumix GX9, designed for and marketed to “street photographers”, was a slap in the face of professional GX8 users and saw many of them move away from the brand.
Converting MFT into a format for v-logging only would be a further slap in the face of professional video producers, many of whom have been earning their living with the GH5 since it first appeared.
Marketing MFT with current iterations of DFD autofocus to v-loggers who have a choice of brands and often corporate sponsorship is a big mistake.
If the GH5 and GH5S are the end of the line, there go our investments in pro-quality lenses such as Olympus’s excellent manual clutch focus-equipped M.Zuiko Pro collection and Panasonic’s unique, wildly innovative and also manual clutch focus-equipped Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric superwide to standard lens.
Granted, the Lumix DC-S5 looks very promising and so does the possibility of smaller 35mm sensor-equipped cameras, perhaps even a 35mm GX8 successor.
But completely moving over to the larger sensor format means a heavy investment in mostly larger and even heavier lenses, essentially flushing our current MFT gear down the toilet when our MFT cameras wear out or cannot deliver the results we need.
Panasonic, please say it is not so.
Panasonic, please do not abandon your professional Micro Four Thirds user base.
Or are you willing to see Olympus, under new owner JIP, snap them up with their apparent new emphasis on video?
- 4/3 Rumors – Will Panasonic transform their MFT product line to focus on vloggers?
- B&H – Olympus M. Zuiko Pro professional-quality Micro Four Thirds lenses
- B&H – Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. Lens
- B&H – Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera
- B&H – Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital Camera
- B&H – Panasonic Lumix DC-S5 Mirrorless Digital Camera
- DxO – DxO PhotoLab, DxO FilmPack, DxO ViewPoint and Nik Collection.
- Leeming LUT Pro – Australian cinematographer/director Paul Leeming’s “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table (LUT) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”