OK, thanks, I get it and depending on the reality of it all, how it turns out, we all know what we want and we'll eventually find out what we're offered and then we'll determine our next camera purchase...I only weigh in here hoping that Panasonic monitors the thread and makes upgrades in the GH5 to make a real difference unlike say the GH3 did...which I have also but we all know the Hacked GH2 beats the pants off it when it comes to video..I hardly ever use that GH3, it is my D cam, used only for multi cam shoots as camera #4.

OK right about Pocket but it seems as the GH line has evolved, yes it serves both photographers but now perhaps video/film makers even more. I like many bought the GH4 mainly for motion picture quality although I am also happy for it's still modes. As I learn more and am able to discern differences in digital film quality and how it grades, I grow to desire a better codec than 8 bit 420 for 4K & V-Log which is why I never really consider the Sony A7s/ll as an upgrade except for low light. Personally I'll keep my GH4 as a great hybrid but as for upgrading to a film camera that really makes a difference I'll probably end up having to save my dollars a lot longer for perhaps the URSA mini 4.6 K. But really I would rather spend $3000 less for a GH5 (not to mention I already have lenses) if it has a much improved codec that can handle V-Log well without all that nasty banding etc. Meanwhile the GH4 and BMPCC are just fine.

@joethepro, TrackZillas & apefos: you might be right but on the other hand, Blackmagic put 10 bit 422 in the $1000 Pocket regardless of their higher end cameras & perhaps it has been their top selling camera? The Pocket is not a high/end expensive camera yet I often use it instead of my GH4 because of 10 bit ProRes 422.

It makes more sense to be 4k 10bit 420, because ultra hd bluray is like that, and the new prosumer cameras must follow ultra hd bluray. 422 is only for high end expensive cameras for heavy post production cine/broadcast market.

5k could be useful for reframing and stabilization and final output to 4k.

@Tron Yah in that case, I just say there's no way they would put 10 bit 4:2:2 in cam on the GH5. That would directly compete with their higher end stuff. I cant imagine seeing this in prosumer cameras for another 3-5 years at least. Its going to be 8 bit 4:2:2, max.

@joethepro - amen to 4:2:2 - so much more important than 10bit

@mrbill 5K would allow for a near perfect crop of the sensor (5120 x 2880 frame vs. 5184 sensor width) with no image downscaling required in camera. It also allows for 15Mp individual frame grabs vs. 8Mp grabs w/4K. So nearly twice the resolution available for much larger print sizes from the video stream.

5K would probably be presented as a flagship feature and many like myself would typically use it for specialist projects (fashion hybrid) and stick to 4K 10 bit for the majority of work. That being said it would be a good marketing tool for Panasonic to stay one step ahead of the competition on paper and for good or bad, the marketing people usually win when it comes to prosumer feature releases, not Hollywood DPs.

Why would anybody want 5k resolution? There's a near revolt going on amongst Hollywood DOP's about having 4K foisted on them, and the the vast majority prefer to shoot at 2k. Dynamic Range and color science is king

I think we're definitely going to see 10 bit internal this year, all of the 4K TV manufacturers are touting HDR/10 bit as the next big thing for 4K TVs. Panasonic has been pushing the GH series as the best fit for consumer & pro TV content creation, so it would only be fitting to support this feature.

In addition, Ambarella's recently announced chipsets (H1, H2, H12) provide 4K 10 bit in H.265 Main Profile at up to 60P in addition to high framerate H.264 8 bit at up to 120P. http://www.ambarella.com/products/flying-cameras#H12

If Panasonic achieves the same level of performance or better we will be in for a real treat. I'm guessing: 20 Mp BSI Sensor, 5K 24/30P 8 bit, 4K 24/30/60P 10 bit, 4K 120P 8 bit, HD 24/30/60P 10 bit, HD 0-240 VFR mode 8 bit, 5K Timelapse 8 bit, 4K Timelapse 10 bit

CrowBar,

Perhaps you should just forget about an external 4k recorder. Although there was a huge improvement in my A7s, it was hard to see any improvement in my GH4 unless you use a much higher bitrate.

Considering Panasonic wouldn't pay the relatively small amount of tax to dodge the 30 min recording limit I really can't see them putting a larger and more expensive sensor in a GH5 that wouldn't give any advantage with their existing lens range. I will be very interested to see what they do though...

something like this, the proper color sensor:

5120 x 2700 for Cine 4k, 23,920 x 12,614mm (APSC S35 size)

4800 x 2700 for Ultra HD, 22,425 x 12,614mm (APSC S35 size)

and 4096 x 2160 or 3840 x 2160 inside the M43 crop using all area from the M43 image circle.