Walter H

I'd try a range of things, and I'm sure others will have more to add, but I would:
Check the camera physically to make sure the screen works, buttons, EVF, etc I'd update the firmware straight away to the latest Put on several lenses and test that they're recognised correctly and the AF and OIS are working After putting in a new battery and formatting a memory card in it, I'd pick the best quality normal mode (24/25/30p) and do a long recording on it of something that has a lot of movement in it (a great test is putting three still images on a timeline each at 1 frame and then loop the video)..  if it records without issue for 20+ minutes without anything odd happening that's good, but if you have time I'd test until the card fills up or the battery dies I'd also do the same but on the highest frame rate mode Check the files are playable in the camera and work on the computer If it passes all of the above then it's unlikely that it has some lingering issue that isn't also present on new copies as well.

The reason here is a bit different though. V-Log L clips at 80 IRE so my LUTs in the V-Log L LUT pack will push that to white. V-Log on the S1 clips at 88 IRE if I remember correctly so any information between 80-88 IRE will be lost, even if the interpretation of the clip is correct (full vs video range).

@kye Great. Thank you for adding that note. I'm quite protective of highlights generally at the point of capture (as long as I'm not compromising skin tones) as I find that clipping is the greatest remaining "digital tell" that can usually be avoided. But this is always good to keep in mind. 
@Attila Bakos I've never approached LUTs as a "click and done" solution, particularly wanting to preserve options for the further application of tone curves. Since moving on from (and now partially back to) Fujifilm, I have missed Eterna as a baseline for further work. To date, my best, neutral LUT for V-Log has been a 2021 LUT by Gamut applied at 80% - even then the shadows would generally be more crushed that I'd prefer for further grading.
Your Eterna LC LUT! It's marvelous for how I like to work! I am now editing a piece that I filmed primarily last year. Replacing the Gamut with this low-contrast LUT - I really like the color interpretation (even in some challenging mixed-lighting) and a whole world of shadows is available to further work with, rather than to try and pull back in some fashion. 
Just so, so nice. 

@kye Great. Thank you for adding that note. I'm quite protective of highlights generally at the point of capture (as long as I'm not compromising skin tones) as I find that clipping is the greatest remaining "digital tell" that can usually be avoided. But this is always good to keep in mind. 
@Attila Bakos I've never approached LUTs as a "click and done" solution, particularly wanting to preserve options for the further application of tone curves. Since moving on from (and now partially back to) Fujifilm, I have missed Eterna as a baseline for further work. To date, my best, neutral LUT for V-Log has been a 2021 LUT by Gamut applied at 80% - even then the shadows would generally be more crushed that I'd prefer for further grading.
Your Eterna LC LUT! It's marvelous for how I like to work! I am now editing a piece that I filmed primarily last year. Replacing the Gamut with this low-contrast LUT - I really like the color interpretation (even in some challenging mixed-lighting) and a whole world of shadows is available to further work with, rather than to try and pull back in some fashion. 
Just so, so nice. 

It's worth noting that this highlight clipping behaviour is a limitation with all LUTs, not just in this case.
Increasingly, cameras are supporting "super-whites" which are values above 100%.  My GX85 is one of them, and in my standard node tree I just have a curve with the white-point dropped down a bit to bring values back into range prior to all the subsequent adjustments, so I don't forget or accidentally clip anything that was available in the file SOOC.

Thank you all for your advice and your time.
I'm going to decide between the K&F Concept Nano-X Filter 82mm ND8-128 and the Neewer 82mm ND8-128.

I think the closest that you're going to get with that will be the Sigma contemporary range.
They are behemoths compared to what you can get in MFT but, actually, when you line it up against an MFT package of actual equivalence (or slightly less in this case) then the story changes.

Its just that with MFT you have the option and thus far in L mount then you don't.
Unless....
You don't mind sacrificing a daft amount of money and going APS-C and picking up the Leica range that they made for the TL and CL which are very compact indeed.

Leica have abandoned APS-C and Panasonic seem content to sit either side of it with their MFT and L mount so it might be a place that Sigma could carve a niche for themselves with an APS-C body, particularly as they have an excellent set of fast primes and a zoom for it.
With the trials and tribulations of them trying and thus far failing to make a full frame Foveon, it could well be that it would find a home for an interim APS-C version in a rehoused Fp. 
Realistically, though, the only current way to get pancake-ish full frame in L mount is to go for the manual focus route of using M mount on them like I've done on mine here with a 35mm f2.

As @MrSMW has just posted, the E mount system is currently better served with compact FF lenses particularly in regard to 3rd party manufacturers like Samyang.
The closed shop nature of the L mount alliance (in terms of electronic lenses at least) is definitely a hindrance in that regard.

@Walter H Thanks a lot, your feedback is very much appreciated. While the V-Log L version might work for the S1, keep an eye on the highlights, if the LUT clips them,  gently pull them down before the LUT is applied. The S5IIx package might be a better choice for you but I haven't started working on it yet. Whenever that's finished and you decide to get them, just let me know before you do :)

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

I think judging this release against the specs and the role as an a-cam on-set affirms just how spoiled we've become.
Looks like a wonderfully evolved camera for its use. 

Oh, I owned an X100F for about eight months more than four years ago, so I cannot say directly (as much as everyone in this thread is typing based upon the specs of this latest release). I had an X100 for more than a year prior to that. That's all I can speak of based upon direct experience. I think it is a lovely camera that I just didn't connect with. 
I think it's primary use is as a stills camera and I think it fulfills a genuinely unique market niche really well - hybrid viewfinder and a fixed-lens. What else is there? For that, I think the bump to Fuji's 40mp sensor makes sense (not that I would have been asking for it) and the incorporation of IBIS is what really stands out to me. Since my first IBIS body, I simply won't go back. So many more creative options open up (for me). 
So to answer your question pointedly, IBIS. The rest of it might as well come along since it's already there.
I think the video specs are grand to have (why would you exclude what the XT-5, etc can do with the same sensor/processor?) and I would do b-roll grabs or creative work with it. But that would be a perk for me with the x-series rather than a goal for purchasing the camera.

I spent a lot of time testing different configurations to make the FP more ergonomic. I finally found the best cage and drive to keep it, relatively, compact without going down the Dark Labs rabbit hole...

With that said, out of the box, the camera isn't much bigger than the original eos-m, so when you add a cage, the ssd, lens adapter and lens, it morphs into a much larger camera that isn't much smaller than my 5D3 but much more cumbersome.
The screen is pretty nice on the FP and excuse the pun, but with the 5D3, you can see the "magic" of raw on the LCD. With the FP, although it's a better screen, the image has a very flat, dimensional look.
Battery life isn't that great with the FP either, compared to the 5D3... I'd say you can get about 45 minutes, or so.
In some ways, the FP would probably work better if fully rigged out or if the barebones camera was on a gimbal with the SSD attached to the gimbal's handle.
With my current setup, I'd say @BTM_Pix 's approach using M mount lenses would probably be the most compact route. I've been looking at some LTM lenses, so we'll see.
In a perfect world, I'd have the money to buy an R5C or R5ii when it gets released, but that doesn't seem likely, so I'll decide what to do with my FP.
To tell the truth, if someone offered me a good price, I'd consider selling it right now. I got OpenAI for video now. 

Magic Lantern, how about 12-bit RAW on the Panasonic Cameras 😉
 

Yeah, I think we spoke past one another. 
The S1 focus brackets raw images nicely with one press of the shutter. Lots of control over the number of images, their depth & step. Easy to dump that sequence into PS or Affinity, etc. and render a blended image. That's what I was referring to as "old school" - doing the post-capture stacking in a software later on. 
It's the focus stacking feature that renders in camera a single jpeg that I was having issues with in terms of unwanted artifacts. Perhaps the processing in the G9 is improved? Granted I have been working with challenging, detailed material.
The process of focus bracketing is fine and I've no complaints in doing it. It's also nice when I can avoid it altogether. 

Is there an option to shoot in vlog but monitor in rec709? Probably your peaking will work better then? (am guessing here, no experience with the Panasonic L Mount cameras, but this is how it functions on some other cameras) 
Or....  (and I know @MrSMW would HATE this suggestion 😅 but maybe it works for you @Walter H?), shoot vlog but output rec709 over HDMI (am pretty certain the S1 can do this??) then do the peaking with the external monitor (little 3.5" external monitors exist?). That's another process I've heard of people doing to get better results with peaking. 
I know the built in photo stacking feature in the Panasonic G9 is very powerful for when doing macro shots and needing more DoF, doesn't the Panasonic S1 have this too? Or is it of no benefit for your style of shooting? 
 

He knows and he weeps for and with you.
Still good with it. What I meant was if Covid had not come along, I would have progressed from XH1 (one of my fav cams of all time) + XT3 to all XT4’s instead of S5. Then I would have moved on to XH2S’s for video and XH2’s for stills with some hybrid crossover between the two otherwise identical cameras.
Spits loudly in the corner.

Actually..., really? You seem so "Nikon other than Panasonic" oriented - for good reasons. When I switched to full-frame (from Fuji), I expected to go Nikon but once I held the S1 and played with Vlog, that was it. Right choice at the time, but unsure I would do the same now (at least once the Z6v3 is released).

At risk of cluttering up the thread (but it seems these thread can range a bit from their titles), the X-H2s immediately resolves my main complaints with the S5: namely, the intermediately smaller body that never fit my hand well and a clatchy, miserable feeling mechanical shutter that makes my heart weep when I engage it (@MrSMW knows). The X-H2s feels wonderfully in my hand (just as the S1 does considering two quite differently sized bodies), it feels better built than the S5, and the shutter mechanism makes my angels sing. To me, much better than the X-S20 that I had intended to pick up...
I don't have enough experience processing RAWs form both cameras yet to know how easily the I can process them to have a consistent look, but I'm not worried. I have worked with enough Flog and Flog2 footage to feel confident that as long as I have my white balance close, I can get a good match with Vlog footage. If I set each camera to a color chart, then I'm not worried whatsoever - not for the work that I do anyway.
More additional context specific to me: for some of the product photography that I do, I really missed the ability to easily tether with Capture One (Panasonics don't) and having a bit more depth-of-field from an APSC sensor has its advantages too. 
I may have something more useful to add once I've worked with them both together over the next few months. 
Oh, and good idea on the monochrome preview lut. I'll experiment with that.

One downside is I think that you will be spending $700 on a modification for a camera that you would be lucky to re-sell for about US $800. (I got a trade-in quote from MPB for like $535 or something like that. Gonna pass on that. Thanks.)
I don't think getting the OLPF mod would help with resale value (might even hurt) as anyone shooting photos would probably balk at the idea of buying a camera with a third-party OLPF installed.
Of course, not a problem if you plan on holding on to the S1 long term. But with the second-gen S1 / S1H / S1R "likely" to come out this year, it might not be a great idea.
All this is just my long and convuluted way of saying that the 1/8th Black Pro Mist filter doesn't seem like that bad of a solution.

@PannySVHS@MrSMW Yeah, that's all pretty compelling. Thank you!
@kye re. point #2: 😂 😂

Thanks for noting that. The quick twenty-minute look did reveal some of those issues, mostly due to condensation between the filter and sensor separated by rubber gasket and, for an unlucky few, the development of mold. This is also for a camera/filter situation that people were installing in the uncontrolled comfort of their own homes!
Not seeing much beyond the BMPCC's, but it does prompt me to ask about this, get more clarity on their application of the OLPF, their expectations of durability, etc. 
Thanks for the thought, but is your suggestion simply based upon the S1H's current low cost? 
Fundamentally, there is no difference in output between the S1 and the S1H with the S1's updated firmware, right? (I mean, I know that the answer is yes to that question.) There are some video-centric ergos that the S1H has which, sure, I'd prefer but they aren't worth a ton of coin. Texting with one guy who has had this done, this retro OLPF is seemingly more effective than that within the S1H. Link here.
It kind of boils down to hassle as well as $$: 1) selling my S1, buying an S1H; selling my S5, buying a FujiX as a second cam, or 2) for the price of the S1H, I could do this convert to the S1 and buy a Fuji X-S20 (possibly a used H2s?); sell the S5. Option 2 feels so much more efficient and that means something these days. 
 
Appreciate you both for chiming in.

That link was broken but I found the (quite helpful) article here: 
https://ymcinema.com/panasonic-strengthens-its-imaging-business-will-the-cinema-lineup-be-renovated/
Interesting to read the philosophy behind the alignment: responding to market overlap based upon sensor size and overall image quality of the consumer segment, i.e. Lumix, in recent years and the need (as I read it) to be more responsive & flexible to changing needs/wants.
(These forums wonderfully represent the blur between "need" and "want", no? 😉 Guilty.) 
@Emanuel Tren de sombras. omg

Have you ever watched this one @mercer?
Your face! : ) And simply one of the loveliest pieces ANYONE can EVER watch on the screen!
End of the story.
So I hope this may serve as definitive word on the responsibility you have as creator, no excuses, you're much more than a writer and... period ; )
EAG :- )
 
 

YES, someone else that also gets this!
As a 50:50 stills/video shooter myself, only photographers really get just how important shutter sound (and button feel) are when it’s your job.
It was awful on the OG S5 and that carried over to the S5ii.
I love my S5ii for video but for stills, the S1H is in another league.
I could have, and wanted to build a system around 3x S5ii’s, but the shutter sound plus the lack of lenses for my specific needs, has meant I cannot.
I genuinely think that Panasonic potentially has the best all round hybrid cameras in the S5ii and the S1H and they just need to merge the two into one for the ‘perfect’ camera, ie, the focus system of the S5ii in the S1H!
Actually my ‘perfect’ camera is a mashup of the; S5ii, the S1H and the Sigma FP with Tamron lenses, specifically the 35-150mm f2/2.8 and 70-180mm f2.8
If only, for those lenses, it’s Sony or Nikon bodies only…which is why I have skipped off back to Nikon + Tamron for stills.

Last year was my relatively low-spend year - other than disposables, only some upgrading to my audio kit and a bucket of hard drives for archiving. 
This year I think I will make one targeted camera purchase, which could come soon. Looks like the S1 has been discontinued in Japan and Panasonic might make an announcement as early as next week. So... Fuji's X-S20 it mostly likely is!
I am a hybrid shooter - genuinely as much photo as video although I make more money with video. I had been with Fuji for ages until I sold off everything to purchase a newly released S1 and subsequently an S5 as a second cam. If it hadn't been for the S5ii's retention of that miserable-sounding mechanical shutter, I likely would have replaced the S5 for the improved PDAF, better 6k, etc. 
I have also REALLY been missing a smaller camera that I can have along with me for pleasure (even smaller than the S5 and my clunky-adapted Canon 40mm). I've been missing being able to be tethered to Capture One for product photography (no joy for the Panasonics). I'm surprised by how much I miss the less shallow dof/more light gathering ratio per aperture that an APSC can provide for certain shooting situations. I played with a few Flog2 files and found them readily matchable to Vlog and nice to work with in their own right. Great on a gimbal. Better autofocus than what I have. I'd still have a the full-frame S1 for its advantages and I'd ditch the S5 for this lighter, more 6k capable, flexible B/A cam... 
I'm thinking this $2k spent (X-S20 + Sigma 18-50) less whatever I can get for the S5 and additional bits will round things out really well and be a bridge camera (in a sense) that actually extends the life of my S1, which for robustness, record time, quiet shutter, etc. I love, and get me another year plus with it before finding a used whatever-Panny-releases-soon a year or so from now to replace it. 
 
Isn't a treatise of justification just grand? Sorry for thwarting your intention, OP.