Trankilstef

30 minute limit due to heat in 8K and 4K/60p
😂
Otherwise looks good. Definitely has the edge on the EOS R5.

None. 
I've discovered that for 90% of the shots I want to get, an incredibly modest EM10III does the trick.  If the other 10% is mission critical, I rent.  If not, I simply suffer not being able to do certain visual tricks.  So-mo, heavy grading, etc.  Which, as I've also discovered are just tricks, not really a big part of fundamental storytelling/production.  The burden of not being able to do something actually keeps me more visually "honest."
Weirdly, I just don't fret about tech limitations too much anymore.  Didn't think that was going to happen so suddenly, but for me it did.

Have you considered trying Prores RAW on the S1h? Now that I got the new Mac M1 I’m really considering it. 

I definitely feel you on the next pocket from Blackmagic. i sold my pocket 4K one year ago and took the Panasonic S1H and S5, and though they totally are excellent for my work (mainly interviews, mini dos etc.) i really miss the Braw and the filmic look of the pocket cams. i will definitely watch for the next iterations of these cameras. But one thing's for sure, I'll keep my Panasonic bodies, cause I am realy confident about the next iteration of the S bodies.
Also I keep an eye on the GH6 cause I feel it will be the last of its lineup so they might make it a little video monster.

Next Pocket. Next Insta360. Next Mavic Pro.

Z-cam just released a firmware update for all of their cameras.
 
All resolution and frame rate combinations now support ProRes 422 recording (except C8K 2.4:1).
Added 5K 60fps recording on E2-F6.
ProRes proxy records in separate files.
Preview & in camera playback with 3D LUT banding issue fixed.
External SSD recording through USB performance improved.

Now I can do Prores 422 on my S6 at 4k 100fps. That is pretty awesome IMHO. I wish Panasonic would get in on the Prores game. 

Once S1H gains momentum at filmschools, it will produce more and more impressive films. Today a friend of mine entered the realm of Varicam colour science and massive cinema image quality with the S1H. I was close to buy one myself, because I was going to sell my S1 due to the paid VLog update and the 10bit 4K60p of the S5. Tell you what, the VLog 10bit puts the S1 way ahead of a C300II image wise, no contest at all! If S5 will continues to sell well, and if Panasonic keeps their model philosophy in logic and neat order, they will grow and give Sony a good run for the money. My friend owns a GH5 and films with Arri at his school. If the S1H convinces him for his project, he is the usual film school image connoiseur, it will be on a whole lot of film school shoots. Film school in Germany means some free tickets for the large German film festivals as Berlinale and others. The S line I think will rock the scene. I hope I can be part of it.:)

- I always shoot in VLOG, when color grading are you using a LUT or doing manual primaries correction? I've stopped using LUTS for primaries and get much better results simply grading by hand. In DR I create 3 nodes (primaries, curves, false color), I use the primaries node to set the Lift, Gamma, and Gain, I set Saturation to 90%, and I set Contrast to 1.17. I then fine tune the image in the curves node and check skin exposure using a false color LUT in the false color node.  I've attached a screen shot from a recent fashion show, showing before and after.  I have never had a BM so I don't know if the attached image has more grain than a BM in the same situation so I will let you be the judge of that. 
What really impressed me about the attached image is that I was able to recover the white balance. Someone turned on a very warm spotlight right as the show started and I did not have time to adjust the WB (the joys of shooting fashion shows). 
-For IS, with the Sigma adapter attached for some reason most of the modes get disabled for me and it doesn't seem to give me the option to turn off body IS. My Canon EF 24mm has lens IS and I haven't tested which is better, so I've just left everything at their defaults and it seems to all work itself out. 
-For S&Q I never use it, I shoot everything in 4K and mostly at 60FPS, I feel like all of the modes in the S&Q options are going to require that I deliver at 1080P so I haven't experimented with the modes.
-I don't use AF at all, since I can't use continuous AF with the adapter I just use hybrid AF.....so half press the shutter to get focus then MF from there.
-Depending on the lens the magnifier will automatically come on when you set the dial to MF and start turning the focus ring as long as you are not already recording. In the menus you can set the center button of the focus selector dial to magnify when in MF so that's how I have mine set. Some of my lenses like the Canon 24mm-105mm don't automatically magnify when I turn the focus ring but the EF Sigma 50mm does as long as the selector is in MF.

I don't think we will ever know if Sony is refusing to let Panasonic use the technology or if Panasonic truly thinks what they have can be superior one day. When a camera maker is dependent on their competitor for their imaging sensor that can't be a good situation.

I don't think this will come at tall. But what may come in the next generation of S bodies is a very powerful chip fully dedicated on AF, because as some article have pointed out, the contrast detect AF is very powerful dependent. So with the increase of power the AF has improved recently. So one of the solution would be to dedicate an entire chip only to control the AF. The more power, the more accurate and fast this will be.

I don't think this will come at tall. But what may come in the next generation of S bodies is a very powerful chip fully dedicated on AF, because as some article have pointed out, the contrast detect AF is very powerful dependent. So with the increase of power the AF has improved recently. So one of the solution would be to dedicate an entire chip only to control the AF. The more power, the more accurate and fast this will be.

Face tracking works very well as expected in 4k 25p on the little Sony, but 1080 100p is dreadful.
Revising my plan from shooting 1080 100p to 1080 50p in order to keep the face tracking!
Just in case anyone is interested 😉
Just need to work on matching Sony 1080 50p footage to Panasonic 4K 50p on the same timeline...
I appreciate it's not going to look 'the same' but I only need to get around 10 sequences in the ballpark/as close as so not too worried.
One day, I'll just have to get a Sony A7Siii but at around 7x the price (with no lens), it will have to wait until 2022!
Or maybe by then, we will have a FF PDAF Panasonic...

Ideally at 1 stop steps! Like VENICE

All they need to do is stick the guts of a S1H inside an EVA1 body with an L Mount (or MFT!), and price it attractively. 

It’s gonna need some real sensor magic to compete with the C70’s dual gain. Would be nice to see something with dynamic range that matches an Alexa. 12 bit internal in some kind of compressed format would be killer. No crop HFR is essential and 6k. Honestly cameras are getting so good it’s hard to know what to ask for. A really nicely designed ergonomic body with a great menu layout.

Did you guys see this first rurmor about not one but two potential new cine cameras from panasonic?
looks like they're planning some C70 competitor, that would be awesome !
https://www.l-rumors.com/first-wild-rumored-specs-for-a-new-panasonic-l-mount-cine-camera/
 

Been using the C70 the past few days and have to admit I wasn’t the biggest fan at first. It felt a little unwieldy to use, I’d have loved to have been able to swivel the handle a little as the joystick is in a tricky spot to reach sometimes. The dials are also a little oddly placed. Second day filming and it feels a lot more natural after I started to think of it more as a small cinema camera rather than a big mirrorless or DSLR. As always, love the internal NDs, like having false color and so many customizable buttons. The DPAF seemed snappier than the C200 but still not perfect and not something I would fully trust for some shots. 
Footage seems clean, not overly sharp but I haven’t really had time to play around with it properly yet. I’m still not entirely sure the price is justified, it seems a little high in Europe especially, but once it drops a little with cameras appearing on the used market I think it will be a lot more attractive. The BMPCC4K, and even the LUMIX S1, have really screwed with how I perceive what a camera is worth these days. There’s so much value to be had at lower price points, it’s really becoming more about convenience features and ergonomics.

Panasonic 85mm f1.8 has turned up.
First impressions, it's light, compact and well built.
Second impression is that the AF seems marginally better than the kit lens that was 'OK' and much (MUCH) better than the Sigma 56mm f1.4
In fact, I am cancelling my order for the Sigma 16mm and 30mm f1.4's and probably returning the 56mm f1.4
I'm going to do some more thorough tests tomorrow but it seems that it's true that the L Mount Alliance may share a lens mount, but they don't all share their protocols as much as they might.
I don't need ultra-amazing AF, but there are times when I need it to work and it 'seems' at least, that Panasonic glass with Panasonic bodies is the way to go.
So back to my original plan and will await the announcement of the Panasonic 24, 35 and 50mm f1.8's and work with that set instead.
Maybe even 1 less body as I am actually quite impressed with the IBIS and it's only a total of less than 10 minutes I actually need a monopod for dual photo/video at the same time and that will save me the cost of one full body.
But the new 85 is looking good. But then I thought the Sigma 56 was...but I have done a little more testing before opening my gob this time 😉

I now have my Panasonic S5 rigged to meet every type of project that I shoot and I know how much time it can take to get your gear rigged up in a way that works for you so I figured I'd share my setup in case someone else is looking for ideas. Every rig is kept as simple as possible, I can go from one rig to another within less than a minute and none of the rigs require tools to put together or take apart. Also, all of my handles, lenses, rails, tripod plates, audio equipment, and even the V Mount battery is interchangeable with my Canon C200 which is what I wanted for simplicity.
For each set up I provide a parts list and what I use that setup for.
All Setups - Parts
SmallRig Cage for Panasonic S5 Camera 2983
SMALLRIG Quick Release NATO Rail 1.6
Sigma MC-21 EF-Mount to L-Mount Adapter
Andoer Rapid Connect Adapter with Quick Release Sliding Plate
Setup 1 - This is my setup for when I am shooting video only and have the talent wired for audio via a wireless lav mic or a wireless microphone. The extra weight makes handholding easy and I can rest the back on my shoulder or chest for short interview type work. I also shoot content for some YouTube influencer's channels and this setup lets me shoot hand held while capturing their lav audio. With this setup I think I can shoot for about 10hrs without running out of battery life
Equipment
Canon EF 24mm-105mm F4
Panasonic DMW-XLR1 XLR Adapter
Sennheiser G4 receiver
Sennheiser to XLR cable
SMALLRIG Aluminum Side Handle with NATO Clamp
SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps
SMALLRIG 16 Inch Rods x 2
Bebob Factory GmbH COCO-15V III V Mount Battery Plate
V150 Bebob Battery
USB A to USB C cable
2 x Andoer Rapid Connect Adapters

Setup 2 - Same equipment as setup 1 but with the addition of a Manfrotto Video Tripod which also has an Andoer Rapid Connect Receiver plate mounted on it. In the picture I show how I can slide the S5 off of the rails and slide the C200 onto the rails within seconds.
Setup 3 - This is my long form event setup. If I just need a static camera and natural audio this would be my setup. Although I show an external monitor here, I don't actually use one but I showed it anyway in case someone wanted to see where a monitor could go.
Equipment
SMALLRIG HTN2362 Rotating NATO Clamp Handle
SMALLRIG Aluminum Side Handle with NATO Clamp
SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps
SMALLRIG 16 Inch Rods x 2
Bebob Factory GmbH COCO-15V III V Mount Battery Plate
V150 Bebob Battery
USB A to USB C cable
2 x Andoer Rapid Connect Adapters
Video Tripod
Setup 4 - Same equipment as Setup 3 but without the tripod. This is my handheld setup when I am shooting video only and do not need high quality XLR audio. 
Setup 5 - This is my handheld hybrid shoot setup when everything gets crazy and I am shooting a mixture of video and photos and will not use the onset audio at all.
Equipment
SMALLRIG HTN2362 Rotating NATO Clamp Handle
SMALLRIG Aluminum Side Handle with NATO Clamp
Setup 6 - Same setup as 5 but on a monopod. I use the top handle for additional stability and additional points of contact. I also can use the monopod as a light glidecam if I need a little forward or backward movement.
Setup 7 - This is my gimbal setup for everything from real estate to music videos. 
Equipment
Canon EF 24mm F2.8
Ronin S with Inverted Handle Sling Grip

 

Getting something like a Panasonic GF5 (or similar kind of camera body that is just fifty bucks on eBay) for your kid? And the S5 for you!
 

Seriously I think the S5 would be the best option. Same mount, same sensor, same everything except for the batteries and the HDMI!
I have the S1H and I chose to buy the S5 for my B-cam/gimbal cam. It's way better to have same bodies, same menu systems, same sensor size, same (kind of) low light performance, same dual ISO, etc.  Of course that's my opinion.

Say it isn't so?!
I love this lens.
It's not fast and so a bit limited in low light, but it works for me in a number of ways...
Static wedding ceremony and speeches lens with a focal range equivalent to 30-90mm. OK, I need to test that long end at f5.6 but I always throw some constant light on the top table/speaker so even outdoors in the dark at 6400, I think we'll be OK. Think...I need to test, but used to use a 1" camcorder which was about equivalent f64 or something...
Then it's my 20mm wide angle wedding landscape/architecture lens plus wide establishing room shots such as bride prep, 30mm if we're talking 4k 50p video.
Also, it's my personal/travel family lens when we get back to things hopefully next year. OK 60mm isn't that long for stills but for family stuff it will be fine and my last personal camera was an X100 and that was 35mm equivalent.
It's solid, it's compact, it's weather resistant...it's extremely limited on a proper landscape shoot as I found out just before Lockdown 2 so looking forward to the 70-300!
But it's useless piece of shit if it's just going to be gathering dust!
Speaking of the f1.8 quadrilogy, but original plan was for one of each, all of which would get used, but the 24 was never going to be quite wide enough for when I need wide angle video (dancing) and the 85 not quite long enough for ceremony stills and if I was using it for such, then I wouldn't have anything long enough for the ceremony.
The conclusion was I'd need multiple copies of the 85, something wide than the 24 and I'd have to do some juggling of lenses throughout the day and although the very thought of zooms hurts my soul (deeply), I also have to be realistic in regard to my specific needs as a solo hybrid shooter on a typical 9-15 hour wedding day.
The answer I came up with is it had to be zooms and on tripod and freestanding standing monopod for video and essentially the good old combo of a 35mm + 85mm prime for stills except in my case the combo of 20mm + 45mm + 105mm. Which is slightly different but does not require any lens changes all day long on any camera, stills or video.
But as the saying goes, no plan ever survives it's first encounter with the enemy.
I think this one has a good chance however as it's not really a 'new' plan, but yet another evolution of what came before.
I actually tried to squeeze the Sigma 50-100mm f1.8 into the mix but including tripod collar, mount and adapter, it would have been a 2kg beast of a lens, but one which with one twist of the zoom ring, could have been a 75mm f1.8 or a 150mm f1.8 (in 4k 50). But I'd be lugging it about all day long and coupled with the camera body, monopod, powerbank strapped to monopod, from (lighter) previous experience, it's actually a bit much for a sololist also juggling stills, audio etc.
Samyang cine...damn, I missed that one but no, must resist, I have looked at every other option from cine-modded Iron Glass through Voigtlander through the Sigma APSC trilogy of primes etc etc etc.
Sticking to plan. For now...

Best option I think. I still think with the firmware update due in 2021 for the S1 that it will outperform a bit the S5, but considering your requirements (size mainly) it should be a good option to have the S5. I personnally enjoy shooting with the S5 as it's so lightweight. But then when I grab my S1H again I'm feeling at home, I like the grip, the good size with the big lenses, etc. Each body has its purpose; and that's great to have this flexibility.
 

Seriously I think the S5 would be the best option. Same mount, same sensor, same everything except for the batteries and the HDMI!
I have the S1H and I chose to buy the S5 for my B-cam/gimbal cam. It's way better to have same bodies, same menu systems, same sensor size, same (kind of) low light performance, same dual ISO, etc.  Of course that's my opinion.

All good points.
C50 - The C50 is coming, yes, but I just don't think it will really be competing against the FX6 and EVA-2s of the worlds. Seems like it will be a box but with the C200 sensor (but without the raw?) - seems like it could be a bit of a meh release from Canon. Full rumored specs here: https://www.canonrumors.com/revisiting-the-canon-cinema-eos-c50-and-what-it-could-be/
S1H - I said it before, but the C70 is what the S1H should have been in the first place. As a mirrorless, everyone whined it was too large. They should have just beefed it up a bit, added internal NDs, an SDI, and maybe a couple mini XLR ports (or just stuck with their hotshoe XLR adapter, which works very well). I think it would have sold like hotcakes at $4.5k. 
--
Most of the specs I listed are specs I think Panasonic needs to differentiate themselves. I loved the EVA-1 and its specs still stack up well to most of the competition ($6500 for 4k 60fps, 10-bit in all sorts of flavors AND 5.7k ProRes Raw). But I think they either need to go BIG with the EVA-2 at the $6500 - 7500 price point (which might mean 8k, or 120fps+ at 4k, or ProRes internal, or (somehow) raw internal, full-frame sensor, IBIS, etc). 
Though, if they threw the S1H sensor into a BGH1-style box, added internal NDs and some mini XLRs, that would be pretty sweet as well.