Walter H

May I politely suggest you retest on a face?
Big difference between 24 color patches and the continuous range in skin. 

Interesting all of this: noise covering flaws, the role of a camera downsampling or not, 8-bit camera profiles vs 8-bit log, etc. Lots of singular details I've been aware of but this thread helps me think of them in combination with one another. Thankful of that.
I too was assuming 10-bit as a reference to log and 8-bit as a REC709 profile. (My C100 days feel so long ago now...)
Wary of noise, I've been mindful to keep ISO's at or only one stop-ish over panny's 640/4000 base and I have never really had much noise concern. I feel like I savor log's roll-off character but perhaps I've been telling myself that now for so long that it deserves doing another round of testing to interrogate. 
And I am thinking of a shoot this summer at a singing retreat in which I had no lighting control under a 20'x40' tent with buildings to one side, a lake to the other, a ceiling that reflected the green of the surrounding grass, and a huge range of skin tones... I think the 10-bit paid its dues during that edit, but this is the kind of extreme for which it's suited, not the point of this thread, which I appreciate.

Interesting all of this: noise covering flaws, the role of a camera downsampling or not, 8-bit camera profiles vs 8-bit log, etc. Lots of singular details I've been aware of but this thread helps me think of them in combination with one another. Thankful of that.
I too was assuming 10-bit as a reference to log and 8-bit as a REC709 profile. (My C100 days feel so long ago now...)
Wary of noise, I've been mindful to keep ISO's at or only one stop-ish over panny's 640/4000 base and I have never really had much noise concern. I feel like I savor log's roll-off character but perhaps I've been telling myself that now for so long that it deserves doing another round of testing to interrogate. 
And I am thinking of a shoot this summer at a singing retreat in which I had no lighting control under a 20'x40' tent with buildings to one side, a lake to the other, a ceiling that reflected the green of the surrounding grass, and a huge range of skin tones... I think the 10-bit paid its dues during that edit, but this is the kind of extreme for which it's suited, not the point of this thread, which I appreciate.

"I've said it many times but its worth repeating - the amateurs who shoot the real world need the best specs but are given the worst, and the professionals who shoot on sets with dozens or hundreds of people to massage every aspect of the scene to look good to the camera need the least specs but are given the best."
 
yes.

And this is why ProRes 10bit 422 is plenty for even quite "high budget" productions to shoot in, and they don't "need" raw at all. 

Absolutely, if you can shoot 10-bit Vlog and are happy to grade it in post then there's no reason not to.
The main motivation for me is really in dealing with the older or smaller cameras that don't have a log profile built in, and being able to realise as much of their potential as possible.  The GX85 is my main camera now, simply because of size and form-factor, but as we have been reminded by @John Matthews in the "World's smallest DSLM that shoots 4k?" thread, there is still a lot of love for these small cameras.

This is interesting, @kye, thanks for putting 8-bit back out there. Nice to be reminded that there is more latitude than I've perhaps remembered.
I've shot log almost exclusively for the past five years or so except for under-lit situations. I found 10bit vlog so easy to work with that I came not to question the extra bit of workflow vs the headache of getting anything in 8bit wrong. 

This is interesting, @kye, thanks for putting 8-bit back out there. Nice to be reminded that there is more latitude than I've perhaps remembered.
I've shot log almost exclusively for the past five years or so except for under-lit situations. I found 10bit vlog so easy to work with that I came not to question the extra bit of workflow vs the headache of getting anything in 8bit wrong. 

This is interesting, @kye, thanks for putting 8-bit back out there. Nice to be reminded that there is more latitude than I've perhaps remembered.
I've shot log almost exclusively for the past five years or so except for under-lit situations. I found 10bit vlog so easy to work with that I came not to question the extra bit of workflow vs the headache of getting anything in 8bit wrong. 

It is so.

Yes.  30p and 60p completely ruin the viewing experience for me - like if someone peed in my drink.  It doesn't matter what else the drink had in it, I'm not drinking it with pee in it.
You're not convincing anyone to like what you like, we're not convincing you to like what we like. 
Time to stop posting.

This may be one of two downvotes I have ever done. I hate doing it but if you think that looks fine, then this discussion should just be closed because there is literally nothing more to discuss... or are you really just trolling?

I think the low DR with the video on Canon mirrorless cameras is also quite disappointing if you're coming from Panasonic - have gone from Canon R6 to the Panasonic S5ii and the increase in DR is noticeable. Had to use the S5ii alongside a Canon R5 recently and the Canon was struggling to keep up. Not sure if DR has been improved in the R3 but I doubt it  

I got my iPhone 15 Pro Max (upgrade from 13 Pro Max) and some early observations:
 
Quality is good when in shooting good conditions but breaks quite quickly if you miss exposure, in low light, etc.
Log files can be graded easily and have no over-sharpening, can take some post processing but way less than R5c RAW files, the difference imo is night and day as it should be. The same for details compared to R5c is just worlds apart.
BMD does not allow you to use 2x lens, zooming 2x with the 24mm lens the quality is quite bad (very blotchy, full hd at max). I did not test yet with the apple camera and the 2x “cropped” lens to see if is better.
No Log + Cinematic in either Apple Camera or BMD
H265+Log is a good compromise size vs. Quality and you can record all fps internally.
120mm lens I find it a bit better quality than the 77mm of the 13, and a more useful focal range for what I normally cover.
I have BMD set to save to Files, then I connect a USB-C CFexpress or SSD and move the files in Files, is the quickest and easier method for PC users. Much better that the previous phone that was a nightmare to get the footage out from a PC.
Action button is useful as you can set to start or even start recording in the BMD.
Still need to get use to the BMD UI, with no hw button/wheels changing things rapidly is a bit of a pain for me.
 
Overall, with Log and the 120mm is big update and I will use it even more than my previous phone, especially as B or C cam.
Using it as a main camera is a big stretch and I think I will be mostly disappointed.
 
Frame grab 4k Log 120mm.

OK, I just came back from a 2 day one-man band shooting in the amazon. I shoot with a c100 doc style and have a Eos R for b roll. I had found myself in similar occasions with a iPhone 13, many times  before,  occasionally using it for a b roll scene and always regretted it because it was rarely usable. Seeing the footage I got with the 15pro max in log now I was really happy to see it will be useful for my kind of work. Specially the 120mm and 24mm. Having the action button to the black magic app and quickly recording in log was very nice. I actually didn't use the eos R. Ill share it here once I've edited it. 
by the way does anyone has a nice nd filter minimal solution for iPhone? 
 
P.S: usb c also made by life much easier both for offloading footage directly to SSd and getting imagens from people on the road

This is going to be my new and much smaller wireless mic/external recording solution, love it.
Rode fixed everything I didn't like about the previous two and made lots of improvements. I really like everything this has to offer, my Sennheiser G2 and G3 lav and handheld systems are finally getting replaced as I'm trying to trim my kit size/weight down and just simplify my workflow. My external recorder is history too. This more than covers all my wireless mic and portable recording needs in one crazy small package.
No need to mess with batteries and SD cards, you can skip the app - plug the charging case into a computer and just drag all the files to your computer, they function as standalone recorders if you're just getting audio, you can use them for streaming or zoom calls, real 32-bit float, auto safety track and so on. 
As for them being shiny, some 1000 grit sandpaper will take the shine off in a few seconds, but I'll use them with lav's or one of the small Rode shotgun mics, so its not an issue for me.
Cheers
Chris

It would be useful if you wrote why you were sharing each video.  I'm assuming you're watching more videos than you decide to share.
That way, if you post a video that talks about things I know about I can skip it, but if you post one that mentions something new that I don't know about then I can watch.
TBH I'm just looking at you post video after video and thinking "I can just search in YT and see random videos too".

And final decision made…
The S1H is staying and the S5IIX going back without breaking the seals of the packaging never mind the box.
I went into this weekends 3 day shoot edging towards the 3 identical camera body approach, which I would prefer in principle, plus smaller, lighter, faster, newer has certain benefits, but…
The S1H is just too good a stills camera. Yes, stills.
It’s meant to be ‘The Video One’ but actually excels as a stills camera for shooting people and events because it’s that little bit less critically sharp than the others without The OLPF.
And then there is build, the ergos, the feel of the thing to use and the shutter sound is just sublime.
The S5ii by comparison feels and sounds tinny. 
So decision made. I can’t sell or not use the best camera I have ever used. At least not until a genuine replacement comes along. When or if that happens, but otherwise the S1H is being reconfigured in my line up as principal stills with occasional video and the S5ii’s becoming more video specific and less stills.
Same kit, just re-jiggled about a bit!
I think the gimbal is going though. Just not getting any real use out of it and the S5ii is pretty good in that department for my limited needs.

As I was watching the S5II reviews I realised that people are taking the same V-Log files and ending up with very different colour results. I guess there are four main approaches - use the colour in the file untouched, use Panny's LUT, use Resolve's Rec709 conversion, or use a third party LUT. This post compares the accuracy of each and discusses the trade-offs that might be made. This applies to the GH6 and any other Panasonic cameras that share a similar color palette.
I'll be using extracted colour patches from a colour target. This is how the chart looks in reality:

Below, I match the gamma of a GH6 V-Log shot of this chart and then look at the results. Open in paired tabs on a monitor and flick back and forth to compare.
 
1. Don't transform the colour, just add contrast:

You can see here by comparing with the original that overall saturation is way down, cyan magenta and yellow are too bright, reds are too orange, greens are too yellow and blues are too bright. Skintones are too green. I guess some people grade like this. However the colours are still in V-gamut and ideally should be transformed to Rec709. Even when I manually colour grade in Resolve so that some patches are accurate, then others are still totally off. Not recommended.
 
2. Use Panasonic's VLog to V709 LUT

This official LUT comes with a half-assed curve as part of it. But you can separate the components using LutCalc and just get a LUT that is the colour transform only. The colour LUT must come first, before the curve, or things will go wonky.
Cyans are too bright, magentas too pale, yellows too dark and orangey, reds a smidgen too bright and orangey, greens too pale and light, and blues are absolutely far too light and cyan. Skintones are slightly too pink.
Despite these colour inaccuracies this is actually a good colour transform in the sense that as far as I have looked I have never spotted any colour weirdness in the image like banding or colour clipping. It's a slightly muted look though, and not good for landscapes - foliage, sea and sky will suffer a washed out fate here.
 
3. Use Resolve's Color Space Transform to convert to Rec709 colour

Note that Panasonic's official LUT is available in Resolve under the LUT menu. However, you will get different colour results using the Color Space Transform effect to convert V-gamut to Rec709. I was a little bit excited when I saw these results at first. It looked off-hand to be a bit better than Panny's conversion, especially in terms of the lightness of the blues. However closer inspection reveals that although cyans are just about right, magentas are too bright and saturated, yellows too orange, reds too bright and saturated, greens are close but deep blues are oversaturated.
This colour conversion differs from the Panny insofar as it has to be applied after the curve conversion, not before. When you do this I noticed some weird colour artifacts in footage I'd shot at an aquarium. So yes, the blues are more accurate but the inaccurate Panny conversion gave an image with integrity whereas blues began to clip and go weird (even with saturation mapping).
Overall, this gives more accurate and I think nicer colour than Panny. However, if I was a wedding or nightclub shooter I'd be wary of colour artifacting in strong coloured lighting scenarios.
 
4. Third party LUT

I was interested to see if I could make a colour accurate LUT for the GH6. I gave it a go and you can check out the LUT here. The LUT must go after the contrast curve, not before!
Yes, it's very accurate compared to the other approaches. When contrast is relatively moderate and the range of colours is not so saturated it looks a bit similar to the Resolve transform. However, there is much better hue accuracy and saturation control in all tonal areas, which you really notice if you crank up the contrast or have very saturated. However, I did still notice some of that colour weirdness in the aquarium shots. So it looks like Panasonic know what they're doing in terms of sacrificing colour accuracy to preserve image integrity. And I guess if total colour accuracy is what you're after you need to shoot RAW!
Finally, here's a comparison on a real world image:
Vgamut

 
Panasonic Vgamut to V709

 
Resolve Vgamut to Rec709 (skintones are nice but note the oversaturated reds on the skirt)

 
Custom LUT

@Django and anyone else who's interested I've uploaded a bunch of very short clips here at different resolutions and crop factors to check out:
https://drive.google.com/drive/folders/13zSYccjrhj1WXKDNMFioxTAoQbZyuP80?usp=share_link

Yes I started off using face tracking but switched to one area + face and found that to be the best of all of the available options.
Tracking AF is generally garbage.
Tap to confirm focus makes a difference but I can’t remember off hand if that option comes up with one area + face or whether it is a purely face tracking option only…but it does improve things if available.
The lighting situation and background plays a part in this due to the nature of how DFD works.
Also not shooting wide open on say those f1.8 primes helps.
Going forward (and my season starts in around 4 weeks and is then pretty relentless until early Oct) I have reverted my S1H into being my static (ie tripod) B cam and the S5 as my A cam which is on me at all times, handheld or monopod.
Why? The S1H can do 30+ minute recordings without resorting to dropping to 8 bit and despite me preferring it in almost every way to the S5, there is one area I do not and that is weight.
So it’s S5 back to A cam with Sigma 35mm f2 for indoor work which is switched to Sigma 65mm f2 for outdoor so shooting 4K 50p which is my go to, effectively shooting with a 50 indoors and a 100 out.
I am keeping the kit zoom 20-60 close by though for those few times when I need the best tracking AF that I can get, ie, entrances, exits etc and shooting that at f4 or 5.6 at it’s widest focal length, ie, a ‘30mm’ equiv.
Finally, in order to mitigate some of the chunk of the S1H, I’m welding on the Sigma 18-50mm f2.8 as that thing is tiny and very lightweight yet offers an equivalent field of view of 27-75mm so pretty flexible. This unit is pure static manual AF anyway.
I’ll report back if I find anything new as this week is designated as another week of testing. More to keep some familiarity going than anything as even a couple of weeks off produces a surprising amount of initial ring rust.

Its almost like affordable app controlled motorised sliders with pan/tilt heads that can repeat moves ad nauseam don't exist isn't it ?
I do think, though, that more emphasis needs putting on having an "AF Toolbox" as opposed to an unrealistic (at this moment at least) ideal of the "Sentient All Seeing Eye AF".
Focus limiters, range traps, spot focus, hybrid AF-C with manual override etc can all combine into a powerful toolbox that can be used to more ideally match the different circumstances of shooting that people find themselves in.
Manufacturers have a lot of these types of tools available but bury them in menus and don't really pay much heed to fast switching between them with hardware buttons, something which is essential if you want to provide a cohesive system.
I also have a focus recorder function in the AFX that lets you record and playback a couple of minutes of real time focus moves sourced from any combination of AF-S, AF-C, manual or focus memories and then play them back so you can perfect the moves that you want for a scene and then replay them for take after take. 
Stuff like that can also help provide the tools to cover a lot of bases while we await the golden ticket with the bonus of it all being able to work on decades old manual lenses as well as it does with the latest and greatest fast AF lenses.
We are definitely in an era of making perfect the enemy of the good when it comes to focus control.
If we turned our definition of AF to mean Assisted Focus rather than Auto Focus, we might see a lot less angst about it.

Careful if you're using 120FPS on the EVF. Something has been broken and now if you're near LCD/LED lighting it can fail to focus. Few people reporting it on other forums, confirmed on my S1 bodies

@Walter H Thanks man! These particular shots were with Zeiss ZE lenses, with a 35mm Distagon on the RED for the wide shot and an 85mm Planar ZE on on the S1. 

@TomTheDP Honestly not nearly as much of a DR difference between the RED and S1 as I would expect, at least in the limited comparisons I have made between the two cameras.  I'm sure in a very high DR situation, especially with the red raw, that it would win out, but I have always been really impressed with the DR of the S1. 

@Robert Patts I know that "motion cadence" is a big thing for some people, I mean for me personally, the S1 more than suits my needs and is a whole lot of bang for the buck, and with it I have gotten some of the most pleasing images of my career. 

 In my experience, I think the  biggest factors that contribute to a "video" look vs a more cinematic, filmic one -- and not just on the S1, but on any camera -- is usually a combination of not respecting the 180 degree shutter rule, and using glass without character.

Super sharp, clinical, modern glass, such as Sigma's art series or Panny's L-mount glass is always crazy detailed edge-to-edge, but throw something with more character and imperfections like a helios 44-2 or something like that, adding diffusion filters, etc. and keeping. a nice, filmic shutter speed, for me that gross video feeling goes away really fast. Purely subjective, of course. For me the S1 delivers cinematic mojo in spades. 

Whoops, looks like I missed the edit-window of my post, here's some S1/RED comparison stills, as promised, close-ups are the S1, wide shots are the RED