I"m shooting 720 30p, AVC-I 50, F1 on my 370, and was thinking the new Panasonic mirrorless GH3 would give me footage that, with some tweaking in post, I could combine without obvious differences. At least that's my impression from the specs I've read. Any big pitfalls to this? Thanks.

The HPX370 has a much more robust codec w/ AVC-I that can handle color grading very well. Using the FLAT or Cine D scene, you can pretty much grade it to match the other Panasonic cameras w/ surprisingly good results. I did a shoot and post with the HPX-250, HPX3100, HPX3700 on scenics type of shoot and the HPX250 holds up fairly well on actual real world production and about 1 month of prep work to make sure that it can come close. As long as all the diffraction of 1/3" sensor rules are obeyed, the shots are matched fairly close. However, it's in no way a complete replacement of the production. Only about 10-15% of the HPX250 shots are used, mostly on situations where I can't bring big cam to shoot (long hikes w/ steep elevation is 1 example). 2/3" cams have much lower noise, can use f/5.6 to 8 w/ not much diffraction problem, wide selection of 2/3" lenses, and superior color rendition that no 1/3" cam can match.

The dSLRs, on the other hand, is not quite robust in color grading. I tried w/ the lousy h.264 on the Canon 5DM2s and it just doesn't look as well on wider shots. Shot w/ flat, Technicolor's Cine Style. It is scarred w/ nasty artifacts in Final Cut Pro X. Even tried the 5DtoRGB to suck out every bit of the h.264 MOV to Pro Res codec. Not much luck on wide scenes. Garbage in = garbage out. Codec matters. The only reasonable final output is to have a flat, overall color theme similar to Magic Bullet Looks. But the intent to match camera by intercutting it in a live cut is going to be very disappointing. Haven't try out GH3 yet.

Thanks, Sam.

I would be shooting MOV files on both, and I have the 370 set to F1...just a basic documentary without getting much into the "look" of it.

The dSLRs, on the other hand, is not quite robust in color grading. I tried w/ the lousy h.264 on the Canon 5DM2s and it just doesn't look as well on wider shots. Shot w/ flat, Technicolor's Cine Style. It is scarred w/ nasty artifacts in Final Cut Pro X.

I think you can't compare a 5DII with a GH3, the GH3 will be sharper and have much less moire and aliasing