I have an interesting report about the GH2
The other day I went to see a high-end photographer wich I work sometimes with. He showed me some making-of stills of cine-video guys from the old school, 50 and above years old foxes, very experienced people that work with Arri Alexa and have a successfull production house (campaigns withy big brands).
They have integrated the GH2 on set, and not only as a C or D camera. I was slightly surprised to see the GH2 ocupate a relevant place. Even more surprise was that the making-of pics revealed that some operators where also using Canons and the accessories where on the light and cheap ones line.
That was the signal for me to do an enquiery. In fact, the gh2 in question is slightly hacked to 36. The fact is that the GH2 needs very very accurate exposure and sophisticate lightning. In controled conditions, it can deliver absolutly stunning files truly usable in the high-end production at a very low cost per-hour. And those guys know how to control conditions.
The GH2, it's a paradox, needs very experienced operators while the Alexa forgives much more. (and frankly, the menus of the Alexa are a sweet brize compared to the messy GH2...)
As long as you don't stress the files with heavy grading on post and the base exposure is really well done it's incredible.
They mount their expensive PL lenses on it as they do with their Alexas and use light rods-supports and I even saw a 100 euros light stabilizer I wanted to buy some times ago in e-bay...and the fact is that it works, ocupates nothing and goes in any crazy angle.
I couldn't beleive that from old cine-video foxes, still currently active, but that's what is happening and they have fun like babies with their little toys with them.
I tend to not consider those light gear as "rescued" camera anymore and it conforts me in the sensation I have that we are going inevitably to smaller and lighter equipment, and I think that even Red is very aware of that. In the right hands those Panas, Canons etc can deliver the appropriate results at an unbeatable cost-hour and they are starting to invade the high-end and experienced film makers sets.
What yes I saw that the money was still there, was in talents, lightning and crew. In other words, they don't hesitate to "downgrade cameras" but they don't mess with light, crew and talents.
It's all logical in fact.
So to me, the hack is interesting to boost to some extend a camera, but both the GH2, the Nikon D4 and new Canons generations can actually deliver stunning results as it, without hack, it's just a matter of who use them and where the budget goes.
Now, I've read sometimes about the hacked GH2, sentences like "the Epic killer"...this is not serious either.