Walter H

um... huh. Unsure what to make of this.
 

um... huh. Unsure what to make of this.
 

Keep in mind that if you are also a stills shooter using Capture One and if you would need to upgrade C1 to use the S1Rii, you can preorder the camera from Adorama and between the free media and the discounted C1, it is a $3k camera.
This might be the first time I jump at the pre-order phase. No doubt there may be some realtive deals (open box or otherwise) by mid & late summer, but for the maybe couple hundred dollars of additional savings, I think this camera will be making my professional life much easier for months already. False color and switchable, discrete photo/video modes alone is worth several hundred over four months to me. Then pile on everything else.

Oh yeah for sure. I think it’s already a deal for what it can do and paying full price at launch for this one is easy. The $6800 Sony A1 is another story.
 
I buy a lot of open box/gently used gear from Japan on various shopping sites so I’ll probably wait for one of those to pop up in the next few months. They have a lot of 3 day sales with 10% - 15% off coupons and free shipping. Plus there’s no tax so it will be just under $3k very soon with the deal. 
 

Keep in mind that if you are also a stills shooter using Capture One and if you would need to upgrade C1 to use the S1Rii, you can preorder the camera from Adorama and between the free media and the discounted C1, it is a $3k camera.
This might be the first time I jump at the pre-order phase. No doubt there may be some realtive deals (open box or otherwise) by mid & late summer, but for the maybe couple hundred dollars of additional savings, I think this camera will be making my professional life much easier for months already. False color and switchable, discrete photo/video modes alone is worth several hundred over four months to me. Then pile on everything else.

Yeah, 15.3ms on the 60p modes
7.3ms on the 100/120p modes.
it's funny how Lumix were so late to the party with FF 4k 60p but then once we finally get it everyone is all bent out of shape about other features and the 60p just gets passed over. 
 
If you're talking about overall specs and performance that might true but it depends on what you're upgrading from. I think it's pretty close when you factor in usability and familiarity of Lumix products. After years with Lumix cameras and workflow it's nice to not have a steep learning curve in menus, functions and post processing. We've talked about being invested in a system and the true cost of ownership will depend on other factors. I shoot a lot of anamorphic so Panasonic has always had an advantage when it comes to crop modes and IBIS specific to that format. That alone makes it really stand out for me. I'm probably going to pick one up once I can get it for below $3k open box/used. I was really close to getting a used SL2 or a S1R and bid on several deals the last 2 months. But now at $2k the SL2 just isn't practical when the S1Rii can be had for just $3k or so. Same goes for the Sony A1 mk1. For $3k used and several years old now it feels like it's loosing its mojo for me compared to what's coming. 

Pixel to pixel mode should show the same resolution as the FX3, just in MFT gate. @Walter H Penalty regarding noise could be okay, since the S1RII has very good noise performance.
It's a 6K60p full frame camera with the 4K120p mode of a GH7 as a give away. I know the GH7 does it oversampled. Then it's a Sony 4K120 FX30 thrown in for free.:)
I would love to see the 28mm Vivitar in action.:) @Ninpo33 It looks like a Vivitar I lens in body design and sturdiness, doesn't it?  Iirc from my ebay tours some years ago, it looks just as cool. Is the 135mm as nice as the 90mm? Have you shot with the 90mm? cheers

Which is interesting when in the video linked just above the S1Rii's 4K/120 looked much worse than the FX3's when punched in. Now I've seen some very nice 4K/120 from the S1Rii so it's a bummer that these reviewers are not clearly stating what modes he is filming in beyond VLOG. We've read that by changing to pixel-to-pixel mode in 4K/120 maintains PDAF. Will there be other image quality impacts/improvements as well? 
I'm not conflating fast readout wiht image quality necessarily. Just noting things.

Which again is why I think/hope/prefer the S1Hii would not be a DSLR form-factor. People want "game changing" attributes and internal ND and fast readouts to for 8K 60P open-gate, etc. Have a body that provides the space to properly cool, to be rigged out in a streamlined way, that has the features of multi-channel, 32-bit float built-in rather than added on. 
Now if 8K is the limiter, I'd much prefer to skip it and have a 30mp sensor, focus on excellent open-gate 6K. If a slightly larger body could facilitate the better cooling required and for the electronics for 32-bit audio and internal electronic ND, sure, I'd be into it as a larger DSLR with all of the still capability and better low-light. But for a video-centric camera, why not go to a box?

@Andrew ReidLooking forward to your experiences and impressions of the footage.

This new video from Connor is helpful to me. Nice little rundown of a lot of the main crop modes. He was nice enough to include a link to download all the files so if anyone wants to play, check out the link below.
A couple of things if noticed while reviewing footage and doing more research about the S1Rii, the color fidelity really does look good, I’m really liking this sensor so far. Kind of crazy how good the 4.2.0 files look compared to the 4.2.2 and Prores. Also there is mention a few places that the new IBIS is so good that it might be helping to counteract the slower readout speeds. Would be quite the development if that ended up being why the 24ms doesn’t look bad to most people…

 
 

Still need to upload those files...
I did a quick test of the Voigtlander 40mm F1.2 and 35mm F1.2 today, Leica M mount versions on the Canon EOS R5, Sony a7r III and Nikon Z8.
This is to see exactly how different the optical performance is on each filter stack in the 40+ megapixel range.
So along with the N-RAW and N-LOG files I'll try and get that turned into a blog post soon too.

I don't watch these s/cam promoters. I am interested in our footage and discoveries, like we used to share much more in pre 10bit full frame times. I want to see a Tokina 24-40 in action, mounted on a camera of your choice. I still got mine and what a character lens it is, very gloomy at 2.8, mechanically a joy to use. I'd mount mine on my S1H for some 10bit HD 120p or the Tokina Bokina on a tripod in 120p pixel to pixel mode. Old song, as old as the ones about shill cam channels.
Back to topic. Does DRE work in S35 and pixel to pixel 4k? That could provide an acceptable readout speed for DRE use.
 

@PannySVHS@ita149 This guy has some footage to download in a range of codecs if you want to work with it a bit. I have and while there is not much, I am at least seeing there is no longer the need to pull greens out of the midtones, which is a standard proceedure for me with my S1 VLog footage.
Curious what you see & think regarding the color smearing in skin tones. (Also appreciate that this might not be the best footage to evaluate that concern.)
Edit: youtube video linked now! (sorry sorry)

Rolling shutter will be a situational issue and I agree that more more footage I see, the less concerned I am than from the early reports. Yeah, the middle of the CVP review is disconcerting but this is a very tight crop of the subjects head in 6k open-gate and it really appears to be not significant in many other scenerios that align with how I shoot and what I need.
@Jahleh Also agree - super heartening to see some really gorgeous footage. I've not watched everything but I was initially pretty put off by the 8k I saw from PetaPixel - seemed overly sharp with aliasing in the details. So much that I'm seeing now is so much nicer.
I may wait until end of June or I might spring for it in early April depending upon the work I have coming up. A few days ago I covered (photo & video) two rallys over six hours at the State House in New York. Profoundly variable lighting, mixed lighting, terrible light quality and hundreds of people in a variety of locations. The S1 is still a champ but when I think about one switch to move from photo to video (vs a dial and two button presses), higher resolution with no lower light penalty, auto focus that I can point to an individual in a crowd and say "stay there" for the next thirty seconds, to be able to walk and have quite good stabilized footage.... I'm excited to not be fighting the camera to get the results, let's just say.

Cool, now what they really need to add is LUT support. Especially considering the current log assist mode isn’t really that reliable for exposure. Another major one would be  open gate. If they add both LUT support and OG, I’d switch to Nikon in a heartbeat. 
 
 

I agree with this. I'm all for embracing constraints and I loathe the HDR look, but preserving options for choices post-capture I like. 

What I appreciate about it (quite a lot, actually) is that I rarely work in controlled lighting environments. While I'm not exposing for it, I regulalry do need to work shadows three stops or a bit more. The S1 has been strong for me in this regard and I'm intrigued that this camera might be even better rather than penalized for its higher resolution, which is what I was expecting. 
One still from a recent project that is eblematic of the environments I'm often in. This project had both stills and video as deliverables.

And in some context - main take away from the video is that if you are focussed on a compelling subject, rolling shutter is not what people are paying attention to: 
 

Whatever the personal preference on the shots, part of the question for me would be whether that's a capture-time decision or a decision to be made in the edit/color grade.  I tend to favor the latter.  Best to capture a flexible "negative" that can be manipulated after the fact.
As an example, I recently shot and then colored a short film with someone else doing the editing.  The editor complained after my first color pass that it was too contrasty and dark.  The scene is a tense scene in a hallway with a man in military gear guarding the rear while his comrades rush off.  The light in the hallway is flickering and supposed to be faulty.  For me, bringing the levels down and crushing the shadows (and yes, losing detail!) was absolutely the right call.  The darkness and contrast help to convey the tense feeling of the scene... and flickering lights tend not to be strong!
Anyway, thankfully the director/producer liked the darkness so we went with it...  but the washed-out look seems really fashionable these days (and I'm not all that here for it).

And in some context - main take away from the video is that if you are focussed on a compelling subject, rolling shutter is not what people are paying attention to: 
 

This seems to be the case - that the S1RII needs a bit more highlight protection. The Ed Prosser video bears that out. 

So much for me not watching reviews, but I am glad I found this which just seems a bit slower and more grounded.
While there is a lot of similar ground covered from earlier reviews, things that stand out to me in this one are
lots of great imagery and skin tone in a variety of lighting perhaps a slight over correction toward magenta? but no more of the greens that I am always pulling out of my S1 footage dynamic range gains are weighted toward the shadows and highlights need to be better protected when they are prioritized and fantastic color and noise stability when lifting shadows relative to prior S cameras (like shocking to me) don't use DRE with 8K for a sit-down interview.  

Same here. It seems to me that at worst this camera may just need to be exposed a little differently than previous S cameras. I typically ETTR to get shadow details since the S1H and S5iix have great highlight detail. The S1Rii may just need to be exposed more in the middle knowing shadows can be boosted with little penalty.

Or maybe not actually because although the parts outside the metal fencing are not blown out the entire back of her head is, and there's no detail in the hair.
I would be tempted to prioritize the colour, detail and tonality of the inside of the barn and let the small bit of outside blow in a graceful way to absolute white, which looks like sunlight flooding in and would be quite nice.