stephen

They need to ditch this ridiculous "pocket" design. I hope they release an updated 4K version of the real pocket camera. Also, a Komodo-like, modular box design w/ built in NDs. 6-8K. I don't expect autofocus or any cutting edge technology, but they can make these relatively simple changes. 

When I decided to ditch Sony for good - and when I decided to ditch Micro 4/3, I was bummed at all of the system lenses that I had and sold for not enough money so I've decided that for now, for the most part, I'll just get EF lenses and adapt - the Canon adapter for the R5 autofocuses about as well as I need and I also get the bonus of having a built-in ND filter tray so I don't need to bring other ND's with me.

The only exceptions will be lenses that are totally unique to a system (800mm f/11!), lenses that have some truly major improvement for a given system (the RF 70-200 f/4L is shockingly tiny and still pretty good), and GFX lenses (some EF lenses work fine on GFX, some don't - plus every GF lens I've used (except the 80/1.7) is freakin' incredible).

Anyway.  This strategy makes jumping systems easy once the vendor gets complacent.  I moved to Sony mirrorless from Canon years ago because EF bodies stagnated and they kept releasing new cameras that were the same as the last one, but with only one or two spec bumps where Sony was going crazy with improvements - not to mention the first A7s was mindblowing for low light on a consumer camera.  Then...  Sony started releasing a bunch of ho-hum updates... and Canon suddenly had the R5 which, aside from early overheating shenanigans, is incredible...  by mostly having lenses that work with every camera, I won't get stuck to a system where the vendor decides to stop innovating because it's hard to move away with thousands invested in lenses.

Anyway.  EF lenses are often not the greatest, but also are often good enough for anything I need.  I strongly suggest the strategy to everybody!

(Also, adapt all manual focus lenses to Leica M mount and you'll only ever need Leica M adapters for your cameras)

In ALL of the direct heads to heads it looked better as did the SOOC colour science and as for the IBIS…

The latest firmware people were sent seems to have improved the IBIS (less wobble in the corners with wider angle lenses) and auto focus performance. Given not everyone mentioned that in their videos indicates they maybe weren't using the latest update? 

I won't post the video because I know Andrew really, really doesn't like him, but Tony Northrup tested the S5II's autofocus with the Sigma EF to L adapter and it worked really well. 

Here is a hint that on this event Panasonic (and DJI) will present LIDAR type of auto focus tech. Saw on one of the pictures the guy from MAKE. ART. NOW. youtube channel. He doesn't use Panasonic cameras but had an extensive review of LIDAR tech on DJI RS3 gimbal and also reviewed DJI Ronin 4D. He is more connected to DJI than Panasonic. So DJI seems to be involved and it will be most likely a joint event and presentation. Lets see :)

Here is a hint that on this event Panasonic (and DJI) will present LIDAR type of auto focus tech. Saw on one of the pictures the guy from MAKE. ART. NOW. youtube channel. He doesn't use Panasonic cameras but had an extensive review of LIDAR tech on DJI RS3 gimbal and also reviewed DJI Ronin 4D. He is more connected to DJI than Panasonic. So DJI seems to be involved and it will be most likely a joint event and presentation. Lets see :)

Here is a hint that on this event Panasonic (and DJI) will present LIDAR type of auto focus tech. Saw on one of the pictures the guy from MAKE. ART. NOW. youtube channel. He doesn't use Panasonic cameras but had an extensive review of LIDAR tech on DJI RS3 gimbal and also reviewed DJI Ronin 4D. He is more connected to DJI than Panasonic. So DJI seems to be involved and it will be most likely a joint event and presentation. Lets see :)

Use 180 degree rule and in most cases stabilization in post works fine. But of course it is used to smooth and compensate for small movement and jitter when camera itself is panning or moving rather slowly. I try to use proper technique while shooting in order to get stable footage at first place. Most of the time shoot handheld without gimbal. One of the keys to get stable footage without gimbal or IBIS or IS in lens is to use heavier rig (2-2.5 kg). The other is to use good technique, lots of tip and tricks. For example with top handle and 35mm or wider lens can even do short walks.
For long walks or runs will not shy away and use gimbal. Still proper walking technique is needed as gimbal can't compensate for up and down movement.
BMPCC 4K/6K Giro stabilization was kind of disappointment for me. In all tests normal 'warp' stabilization in Resolve worked better than gyro. Unfortunately there is no substitute for good shooting technique and heavier rigs or gimbals.
My observations are that in the professional video/cinema world nobody complains about camera size or rigs. You either go after ultimate picture quality (whatever this for you is) or convenience. I often watch this video about DP Hoyte van Hoytema and Christopher Nolan.
Why Christopher Nolan & Hoyte van Hoytema Films Everything In Camera & IMAX
Impressive how big the iMax 70 mm film camera is. Somebody has to help put it on Hoytema's shoulder. Аs they say: Go big or go home. 🙂

Speed booster from the link doesn't have electronic contacts, S1 won't crop the picture. Camera won't know what kind of lens is attached. S1/S5 do the crop with ASP lenses when they have electronic contacts and are recognized by the camera.
However I don't think it's a good idea to use FF with speed booster on a FF body. At least you need to try it first.
Recently bought a relatively good and cheap Chinese lens with positive reviews:
https://phillipreeve.net/blog/review-syoptic-50mm-1-1/
Never had such a fast lens and wanted to try one for photography. For video such a shallow DOF is totally unusable. For photography it was a disappointment too. It's a specialized tool only for portraits but at f1.1 it is soft and very difficult to manually focus. Almost any good 50mm f1.4 performs better than this one at f1.4.  Other f/1.1 or f/0.95 don't differ much.
If you are after ultra/super shallow DOF type of lenses try LAOWA 35mm f0.95 or 45mm f0.95 or Mitakon Speedmaster 50mm f0.95. I know people who similar to me bought some of those lenses used them for some time for portraits then sold them. It is really a special tool, you definitely has to like this type of look.

Also did a test. Here are some observation:
1. It doesn't work with lenses that don't have electronic contact with the camera. Gyro data is there but after applying gyro type of stabilization in Resolve got a black screen. This may be a bug in the beta version but it's unlikely. Seems logical that software needs to know focal length of the lens.
2. Can it replace gimbal while walking ?  Short answer - no. OK to stabilize simple panning or static shots. With 60p + slow motion in post it can give almost gimbal like results. Good if you want to have a hand held like shots and feeling without the jitter. Still having a good shooting technique is essential. Unfortunately lens IS can't be used in conjunction with gyro stabilization. It is one or the other.
3. It doesn't compensate for up and down movement or does it in somehow subtle manner.
4. As already said and demonstrated it needs 45 degree shutter angle to work best which is not OK for me. Apart of slow motion and simple rather slow pans and static shots when shooting at 180 degree shutter angle it won't be practical.
5. Easy to apply in Resolve. As fast / slow as other types of stabilization in post.
6. Expect with time and new Resolve versions Blackmagic to give more control options to gyro type of stabilization.

Bottom line is: Good to have one more option for BMPCC line of cameras for hand held shooting but it has many limitations and won't replace tools and technique required to stabilize shots. It is not a game changer. This explain why it was not introduced with fanfare but rather quietly between lines by Blackmagic.
On a side note : With new firmware BMPCC 4K menus look now nicer. A lot of minor improvement to a 4 years + old camera. Well done Blackmagic !
Blackmagic already carved a solid place in cinema cameras business making RAW video available at a low price point. Camera picture quality is great, build quality not that much, but I guess this is the compromise to make for the low price point. If they come with a more compact and solidly build bodies and put a mirrorless mount in next generation of cameras this will be a step in the right direction even with expected price hike.

Also did a test. Here are some observation:
1. It doesn't work with lenses that don't have electronic contact with the camera. Gyro data is there but after applying gyro type of stabilization in Resolve got a black screen. This may be a bug in the beta version but it's unlikely. Seems logical that software needs to know focal length of the lens.
2. Can it replace gimbal while walking ?  Short answer - no. OK to stabilize simple panning or static shots. With 60p + slow motion in post it can give almost gimbal like results. Good if you want to have a hand held like shots and feeling without the jitter. Still having a good shooting technique is essential. Unfortunately lens IS can't be used in conjunction with gyro stabilization. It is one or the other.
3. It doesn't compensate for up and down movement or does it in somehow subtle manner.
4. As already said and demonstrated it needs 45 degree shutter angle to work best which is not OK for me. Apart of slow motion and simple rather slow pans and static shots when shooting at 180 degree shutter angle it won't be practical.
5. Easy to apply in Resolve. As fast / slow as other types of stabilization in post.
6. Expect with time and new Resolve versions Blackmagic to give more control options to gyro type of stabilization.

Bottom line is: Good to have one more option for BMPCC line of cameras for hand held shooting but it has many limitations and won't replace tools and technique required to stabilize shots. It is not a game changer. This explain why it was not introduced with fanfare but rather quietly between lines by Blackmagic.
On a side note : With new firmware BMPCC 4K menus look now nicer. A lot of minor improvement to a 4 years + old camera. Well done Blackmagic !
Blackmagic already carved a solid place in cinema cameras business making RAW video available at a low price point. Camera picture quality is great, build quality not that much, but I guess this is the compromise to make for the low price point. If they come with a more compact and solidly build bodies and put a mirrorless mount in next generation of cameras this will be a step in the right direction even with expected price hike.

Will also test over the weekend. The beauty of this method is that we can do stabilization with gyro data in Resolve. Newer Sony cameras also have gyro data but stabilization is done in another program. It's additional and time consuming operation.
More that 3 years after a camera is out they keep updating the firmware and adding new features. To a 1000$ camera (BMPCC 4K in my case). Stabilization with gyro data is almost a game changer.  Hope it will work nicely.
How not to like Blackmagic.  😀 

Will also test over the weekend. The beauty of this method is that we can do stabilization with gyro data in Resolve. Newer Sony cameras also have gyro data but stabilization is done in another program. It's additional and time consuming operation.
More that 3 years after a camera is out they keep updating the firmware and adding new features. To a 1000$ camera (BMPCC 4K in my case). Stabilization with gyro data is almost a game changer.  Hope it will work nicely.
How not to like Blackmagic.  😀 

WOW ! Really.  My plan was to sell BMPCC 4K, since Panasonic S5 became my main one. Now have to  pause and think again. 🤔 A little crop is really not a problem if it saves me the efforts to carry and use a gimble for some of the shots.
 

@PannySVHS - Check Zeek's channel on youtube. He has good tutorials how to shoot raw video with EOS M.  Lots of tips and tricks.
You work all the time in live view mode that ML hack gives you. Histograms are used to measure exposure but I have found they are not perfect. If there is a strong source of light in the frame, measurements are not accurate and number misleading.  But it's RAW you have at least 3-4 stops of latitude for exposure, so no worries if exposure is not perfect. Just make sure you don't burn the highlights. With ML RAW hack I always tend to underexpose a bit especially if there is light source in the frame as a lamp for example. The opposite of what most people advise, ETTR and so on. 
in 1080p it is easy, you have correct live view on screen. Crop mode is very problematic as live view is a black and white image with 1fps refresh rate. According to Zeek you can now use external monitor for framing in crop mode but this never worked for me. 1080p has lots of moire and aliasing, crop mode is beautiful but difficult to shoot.
At the end frustration and quirks led me to the point to abandon  EOS M and ML RAW and sell the camera. Hopefully you'll have a better experience. 👍

@PannySVHS - Check Zeek's channel on youtube. He has good tutorials how to shoot raw video with EOS M.  Lots of tips and tricks.
You work all the time in live view mode that ML hack gives you. Histograms are used to measure exposure but I have found they are not perfect. If there is a strong source of light in the frame, measurements are not accurate and number misleading.  But it's RAW you have at least 3-4 stops of latitude for exposure, so no worries if exposure is not perfect. Just make sure you don't burn the highlights. With ML RAW hack I always tend to underexpose a bit especially if there is light source in the frame as a lamp for example. The opposite of what most people advise, ETTR and so on. 
in 1080p it is easy, you have correct live view on screen. Crop mode is very problematic as live view is a black and white image with 1fps refresh rate. According to Zeek you can now use external monitor for framing in crop mode but this never worked for me. 1080p has lots of moire and aliasing, crop mode is beautiful but difficult to shoot.
At the end frustration and quirks led me to the point to abandon  EOS M and ML RAW and sell the camera. Hopefully you'll have a better experience. 👍

I only see LUMIX surviving if they implement PDAF on par with Olympus or better. That is the bottom line. It's 2022 and every camera out there worth a damn is track focusing fairly well (except Fujifilm).
I always wondered what exactly Leica contributed to the L-mount alliance except for the mount. They jointly (perhaps) help with development of the LUMIX PL lenses but beyond that Leica SL and SL2 internals are all from Panasonic with the color engine done by Leica.
Perhaps Leica agrees to invest more of their profit from their $7000 re-skinned S1R into the alliance going forward. 

Maybe a hint of what's coming: S1CK A.F.
https://www.l-rumors.com/lumix-ambassador-makes-another-easter-egg-teases-the-launch-of-a-new-camera-with-sick-af/
If Panasonic wants to survive in photo/video mirrorless camera world, good tracking auto-focus is a must. Having in mind that inside Leica SL-2 and SL-2S is most likely the same Panasonic processor that is in S5/S1/S1R/S1H, IBIS and so on, it is more than just Panasonic survival but Leica's also. Announcement makes sense. 
Happy with my Panasonic S5 and S1 but it's good to know that L mount and system has a future.
It would be great if Blackmagic joins the alliance. Blackmagic need a mirrorless mount covering FF for their next gen cameras.

Sigma 24-70mm f2.8 DG DN has almost 0 breathing and manual focus is smooth for a focus by wire lens. With latest firmware that gives extra control over focusing similar to Panasonic lenses it is almost perfect for video. Was pleasantly surprised. But it is relatively big and heavy 🙂

Sigma 24-70mm f2.8 DG DN has almost 0 breathing and manual focus is smooth for a focus by wire lens. With latest firmware that gives extra control over focusing similar to Panasonic lenses it is almost perfect for video. Was pleasantly surprised. But it is relatively big and heavy 🙂

Would rather put a new camera in series of practical tests shooting scenes that typically shoot, rather then set expose based on some assumptions. Those assumptions may not be true. We have no idea how exactly a particular manufacture is interpreting the RAW data from a given sensor.

If we have to believe this test:
Sigma FP shooting raw video handles underexposure much better than overexposure. Some people interpret the Sigma RAW video as BM Log and then do CST (Color space transform) and claim this is the way to extract more dynamic range to the full potential of the sensor (12.7 stops). CDNG files from Sigma RAW video according to them  give lower dynamic range.
Have similar experience with Canon ML RAW video on hacked Canon 5D Mark III and Canon EOS M. There is ETTR function in the hack and multiple people advice to do ETTR in order to reduce noise when shooting at HIGH ISOs. In practice at lower ISOs (and high as well) risk of burn in highlights is quite high. Canon RAW CDNG files are handling underexpose better than overexposure. I was able to recover at one occasion 4 or 5 stops of underexposure due to forgotten VND for daylight when shooting at night. As result when shooting Canon ML RAW tend to underexpose half a stop, and almost never go for ETTR. And like the results and footage better.

My approach is similar to the one projectwoofer described.
It consist of two main steps
    1. Color correction and conversion from Panasonic V-Log to REC 709 or another color space if step 2 will be executed
    2. Color grading creating certain look.

For step 1 tried:
    - Davinci Color Space transform (CST) for Panasonic V-Log to REC 709    
    - Panasonic provided conversion LUT from V-Log to REC 709
    - 3rd parties conversion LUTs in my case from 55Media, which is similar to S1Alex conversion LUTs from V-Log to Arri LogC
I can get similar results from all 3 methods but the easiest one and the one giving me slightly better results are correction LUTs from Media55 (Panasonic V-Log to Arri LogC). Also have in my Davinci Resolve node tree, nodes for White Balance, Exposure Correction (primaries), color saturation, contrast and stabilization.
Most of the times just perform step 1 and convert from V-log to Arri LogC to REC 709, adjust individually white balance, exposure, saturation etc. on the individual clips if needed and that's good enough for me. Processing all clips this way is easy, fast and gives me good and consistent results.
For step 2 tried
    - some LUTs
    - Dehancer which works only in Davinci Resolve and gives you great film emulations. Tried some of them on few small projects and so far like the results very much. There are reviews comparing Dehancer to Film Convert and they say Dehancer is a little bit better. For sure you will be able to get great results with Film Convert too.
    - using some film emulation in Davinci Resolve and more specifically Kodak 2383 print film, which I also like. Juan Melara has LUT and Power Grade for Kodak 2383, one day I may get them.
    - using this simple trick in Resolve to steal looks from movies or clips that I like.
  
Later may try to replicate the looks with power grades.
For most of my projects 70-80%  just do color correction / conversion  and that's good enough for me. Is it better than Natural Profile in Panasonic S5/S1/S1H ? It looks so for me. Better dynamic range and better control on colors, saturation and ability to use a look / grade.
For the rest 20-30% use 2-3 looks that I like using Dehancer, Kodak 2383 and eventually power grades that am working on. Having another 2-3 special looks in future is maybe my limit. Using an individual look / grade for every projects, that's for well funded commercial projects and Hollywood 🙂 Having 3 to 6 looks and using them would be good enough for me.
Hope this helps
 

After using the Sony A7S3 in one occasion, I quickly realized how reliable and convenient modern AF systems have become. It makes me question why I have decided to stick with my FS7 and not upgrade to a A7S3 or FX3 (well, because I have no budget😆). The new AF system just saves so much time. 
Why Panasonic still doesn't offer a good AF system is beyond me. Almost always the improvements on the AF system are for stills. For stills, that system is great. Very accurate and fast. Somehow the AF for video mode is just bad, and in my experience, worse than even some older contrast detection AF systems. I suspect the problem is not entirely the DFD system. 
Panasonic cameras are always very close to a perfect camera. IMO, they just have to fix the AF system, and they can easily out sale other brands. 

I think you'll find that the new camera is the OM Systems Olympus OM-1 and the camera name you have quoted is a couple of years old, but otherwise, yes, Panasonic are probably doomed unless they sort the AF out.
I'm not part of the tin foil hat brigade but the few individuals who do have their heads screwed on, don't make up enough of any market to really influence it.
The simple reality is Panasonic have a fundamental marketing problem that comprises 2 parts:
Part A is that their 'ambassadors' seem to be jumping ship in recent times, mostly I presume as they individually wish to move to other camera systems.
Part A2 is that none of them are trendy YouTube influencers.
Part A3 is that they do not allow comments on any of their official channels, ie, kill any kind of community, so all 'community' is unofficial channels such as Facebook groups and a handful of YouTubers.
Part B is the AF tracking issue. It doesn't matter whether it's real or not real or it's adequate in some instances or total shit in all, it's a HUGE reputation/marketing issue directly affecting sales.
And before anyone says, "how do you know it's affecting sales?"
Because it's fucking obvious to anyone who has even the slightest understanding of how business works!
The bottom line is it may already be too late and it's just a question on time now, but the issue isn't contrast vs phase IMO, but simply one of whether it works or not that is the issue.
I don't care if the next gen is DFD, providing the AI bit does what they claim.
And what they claim is slightly vague... 5x faster.
5x faster than what?
I don't know if they even said 'faster' but they have stated it's 5x something along those lines and implying they have something they are confident in.
I hope so anyway, because I'm also a S1H/S5 user for video (and S1R for stills) and really don't want to have to move to another system for a whole load of reasons.
And am not as things stand, at least for this year, but at some point, new kit will happen because I'm a business user and what I have will not work forever.
Let's see what the GH6 is first and go from there...