4k, 2k 4:2:0 to 4:4:4, 8 bit, 10 bit 14 bit, 100mbs, or 30, Intra, progressive, interlaced, MPG 2, 4, h264, Pro REZ DPX. whew?
The ONLY thing that matters is what you shoot looks good, hopefully damn good.
For two weeks we've been shooting the gh3's next to the RED 1's and Scarlets and honestly, you can flatten out any file, the RED's have a lot of control, but once you've slightly crushed it, worked the skin tones, and ready for at least primary grading, the GH3's are pretty, not exactly film like pretty, more digital still pretty, but regardless they look good.
We did a shot in Paris yesterday in an outside cafe with some silks and a few leds to kick some fillm running the gh3's next to the REDs. Honestly I didn't see an inch of difference and the RED has amazing lattitude. Actually, I had the crew set up two RED's considering the challanging light and I know when we get to first edit, the GH3 footage will be used the most at it is the most fluid and has really beautiful skin tones.
The RED's I love em, but they're a lot more work, cost a lot more and in the end, I'm positive I can shoot a gh3 and get so close to equal the RED's nobody is going to tell the difference.
I know, I've seen every pixel peeping, highlight blowing, shadow recovery test, but in the end the only thing that matters is the look.
If the GH3 has any one drawback is the menu is very difficult and the lenses which are good don't get close to most PL's in complete look.
But, If I was Morgan running a one man band I'd forget about the F5, buy a gh3, put some cash into a few large kino banks and a 4x silk for fill and not worry about it.
Personally the 2k 4k talk may have merit, (obviously the makers of 4/5k cameras want you to think so, but I'd bet we're at least 5 years away from real 4k TV and even then I doubt seriously if anyone will notice.
For the movies, well it's a little different, but a film like True Grit was shot with a 2k Arri and nobody worried about Roger Deakins work, or will say heck, why didn't he shoot it 4k and future proof it.
Actually I'm not in favor of future proofing because my goal is to shoot new stuff, not repurpose old.
In regards to the black magic being a game changer, well I hope so, but that's a lot of stuff in a little box and I know our RED's get damn hot running 18 minutes segments, the Scarlet blows the fan like a jet dryer.
Sony, they play too many games and they lost me with the FS100, never to return.
I think the guys at Panasonic have the answer if they'll quit protecting territory and just make a super gh3.