Trankilstef

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. 
 

Panasonic S lenses are extremely good in video, my 24-70 is parfocal and shows minimal breathing. Same for the 20-60. Incredible how they do everything right, but people are so caught up into the perfect AF quest that they don't see everything else Panasonic offers for video. I mean, they give the best out there for professional video into mirrorless bodies (not talking about real cine cameras). But people don't see that. I mean it's not as if loads of wonderful films and videos were made without AF.
 

Plus I think the S5 really has the nicest image on the block atm 

Good to know about the 24-70 f/2.8.
Of course it is all subjective. I only own the Panasonic 24-105 f/4 (and a Canon EF 16-35 f/4 L on the MC-21) and I think I like the rendering from the Canon a bit better than that of the Panasonic 24-105 f/4 for video.
For stills though probably the other way around.

Shit, don't look at my most recent wedding video on-line 😂

Yes, speed ramping or anything and everything like that is a bit gimmicky for my tastes, but as I said previously, I posted not so much to hold this up as the finest piece of filmmaking, but rather at least a whole lot more effort than some of the other stuff out there, ie, using the tool rather than just holding it and babbling about it.
I watched something this morning (I am blaming being back in lockdown boredom) where the guy made so many errors it was clear he had no idea about videography never mind the actual camera. But I digress...
I knew it was .265 and expected it not to play in Premiere on my machine as I had to batch convert to prores with my previous XT3.
But not so, works with zero hiccups other than the occasional ones that are entirely Premiere having one of it’s fits.
No idea why that would be...but then I am the last person to ask technical questions of.

Actually the "Soul of Tokyo" video seems to be a paid Panasonic job cause it's been posted on their channel. I didn't really like this video to be honest (colors are a bit weird at times to me, to much gimmicky shots, etc) but I really feel you about the Youtubers community that just want to be like PMcKinnon, I'm really sick of them (there are a few exceptions though as I'm specifically talking about the PMcKinnon copycats).

I posted 'Soul of Tokyo' more as an example of a filmmakers 'review' as in he actually went out and shot a shit ton of material and made a film with it. And not just shot it, but scripted it first so there was intent with most if not all of it. 
Compared with 99 other YouTube reviews which are basically; un-box in purple/blue back-lit room wearing a baseball cap backwards because that's what someone with the initials P.M. does. Or used to do. Quote specs. Go outside and wave it about without even trying to fine-tune any settings. Say the AF is shit (because you have to by international law), then put it back in the box and return to sender before making your next bit of 'content'.
Just had a look at Russell's (above) stuff and it's OK. The only 'issue' I have with it is the same issue I have with so many others work is that they take a profile, destroy it and then add a heavy-handed LUT back on top that takes the colours too far when IMO, a subtle tweak of the profile SOOC seems so much nicer to me. I think it's because some people just feel they need to fiddle just because.
Not knocking the guy, I looked at some of his work and longer stuff on his website and liked a lot of it. 

I'm still thinking about maybe switching to Sony or Canon for better AF in video cause I am often shooting as a one man band, and AF would be very appreciated. But I can't help thinking that my Panasonic S1H and even my newest S5 after the future firmware has still the edge in video besides AF and slow motion: 
- much better color science
- much better IBIS
- better video tools (waveform, vectorscope, shutter angle, etc)
- a unique LCD implementation (tilt and swivel)
- 6K (though I don't really use it that much but still)
- very useful S35 crop mode in 4k and even pixel pixel in 1080p
- no overheating whatsoever 
- better tactile implementation (Sony improved it a lot but still not the same quality as Panasonic and Canon)
- 4k DCI 
- better ergonomics (arguably Panasonic has the best ergonomics of all the hybrid full frame cameras, and I say this as a former A7III and Canon EOS R owner)
- Possibility to choose linear focusing and even the length throw with native lenses from Panasonic and Sigma recently wich is not possible on Sony lenses
- better hybrid usability if you need to shoot stills and video 
- Timecode
- Real anamorphic recording modes
- ProRes RAW up to 5.9K (up to 4k in the Sony)
- Etc.

So yeah I'd be glad to have a better AF, but truly giving up all those things I listed before, it feels like I would downgrade in some ways.
@andrewreid what do you think of the comparison. As of now, what would you choose between those two?

Download the C70 footage Trankilstef linked to and play with it yourself. It's the same footage that's graded in the video you apparently don't link. I screwed around with it a bit and found it's very flexible and the coded isn't too hard on the machine. I didn't find that the original LOG footage had a cheap DSLR look. Maybe you just object to the way some people have been grading it. 

I'm still thinking about maybe switching to Sony or Canon for better AF in video cause I am often shooting as a one man band, and AF would be very appreciated. But I can't help thinking that my Panasonic S1H and even my newest S5 after the future firmware has still the edge in video besides AF and slow motion: 
- much better color science
- much better IBIS
- better video tools (waveform, vectorscope, shutter angle, etc)
- a unique LCD implementation (tilt and swivel)
- 6K (though I don't really use it that much but still)
- very useful S35 crop mode in 4k and even pixel pixel in 1080p
- no overheating whatsoever 
- better tactile implementation (Sony improved it a lot but still not the same quality as Panasonic and Canon)
- 4k DCI 
- better ergonomics (arguably Panasonic has the best ergonomics of all the hybrid full frame cameras, and I say this as a former A7III and Canon EOS R owner)
- Possibility to choose linear focusing and even the length throw with native lenses from Panasonic and Sigma recently wich is not possible on Sony lenses
- better hybrid usability if you need to shoot stills and video 
- Timecode
- Real anamorphic recording modes
- ProRes RAW up to 5.9K (up to 4k in the Sony)
- Etc.

So yeah I'd be glad to have a better AF, but truly giving up all those things I listed before, it feels like I would downgrade in some ways.
@andrewreid what do you think of the comparison. As of now, what would you choose between those two?

With more LIDAR AF Add option popping the AF on Pana will be non issue, especially if u use cine or anamorphic lens, the AF from camera is not going to power those manual only lens.
And most mirrorless AF lens is really bad at manual focusing, its good that Pana have the option to select focus through/non linear etc.

I'm still thinking about maybe switching to Sony or Canon for better AF in video cause I am often shooting as a one man band, and AF would be very appreciated. But I can't help thinking that my Panasonic S1H and even my newest S5 after the future firmware has still the edge in video besides AF and slow motion: 
- much better color science
- much better IBIS
- better video tools (waveform, vectorscope, shutter angle, etc)
- a unique LCD implementation (tilt and swivel)
- 6K (though I don't really use it that much but still)
- very useful S35 crop mode in 4k and even pixel pixel in 1080p
- no overheating whatsoever 
- better tactile implementation (Sony improved it a lot but still not the same quality as Panasonic and Canon)
- 4k DCI 
- better ergonomics (arguably Panasonic has the best ergonomics of all the hybrid full frame cameras, and I say this as a former A7III and Canon EOS R owner)
- Possibility to choose linear focusing and even the length throw with native lenses from Panasonic and Sigma recently wich is not possible on Sony lenses
- better hybrid usability if you need to shoot stills and video 
- Timecode
- Real anamorphic recording modes
- ProRes RAW up to 5.9K (up to 4k in the Sony)
- Etc.

So yeah I'd be glad to have a better AF, but truly giving up all those things I listed before, it feels like I would downgrade in some ways.
@andrewreid what do you think of the comparison. As of now, what would you choose between those two?

I thought @Andrew Reid’s piece was excellent. Useful insights.
The rest of the thread proves one thing - we are all looking for different things from our cameras/tools.
“Brilliant” that we have so many to choose from.
I’m enjoying my Siii.

I'm still thinking about maybe switching to Sony or Canon for better AF in video cause I am often shooting as a one man band, and AF would be very appreciated. But I can't help thinking that my Panasonic S1H and even my newest S5 after the future firmware has still the edge in video besides AF and slow motion: 
- much better color science
- much better IBIS
- better video tools (waveform, vectorscope, shutter angle, etc)
- a unique LCD implementation (tilt and swivel)
- 6K (though I don't really use it that much but still)
- very useful S35 crop mode in 4k and even pixel pixel in 1080p
- no overheating whatsoever 
- better tactile implementation (Sony improved it a lot but still not the same quality as Panasonic and Canon)
- 4k DCI 
- better ergonomics (arguably Panasonic has the best ergonomics of all the hybrid full frame cameras, and I say this as a former A7III and Canon EOS R owner)
- Possibility to choose linear focusing and even the length throw with native lenses from Panasonic and Sigma recently wich is not possible on Sony lenses
- better hybrid usability if you need to shoot stills and video 
- Timecode
- Real anamorphic recording modes
- ProRes RAW up to 5.9K (up to 4k in the Sony)
- Etc.

So yeah I'd be glad to have a better AF, but truly giving up all those things I listed before, it feels like I would downgrade in some ways.
@andrewreid what do you think of the comparison. As of now, what would you choose between those two?

First pictures leaked !
https://www.l-rumors.com/leaked-images-of-the-new-panasonic-85mm-f-1-8-lens-price-around-599/



 

First pictures leaked !
https://www.l-rumors.com/leaked-images-of-the-new-panasonic-85mm-f-1-8-lens-price-around-599/



 

So I don't know if this has been posted yet in this thread but here are some files from the C70 to play with : 
https://www.dropbox.com/sh/5wrkdi1w5flb94w/AADlSb_ODzKnOO7f2gBTJ_9Ma?dl=0

I don't know for you but I hear people complain about the difficult Canon codecs and files to edit compared to say those of the Sony A7sIII but I have no problem editing in real time those files on my computer.
Speaking about IQ, it's quite good, the amount of noise in the shadows is minimal, it's a pleasure to grade those files.

First pictures leaked !
https://www.l-rumors.com/leaked-images-of-the-new-panasonic-85mm-f-1-8-lens-price-around-599/



 

So I don't know if this has been posted yet in this thread but here are some files from the C70 to play with : 
https://www.dropbox.com/sh/5wrkdi1w5flb94w/AADlSb_ODzKnOO7f2gBTJ_9Ma?dl=0

I don't know for you but I hear people complain about the difficult Canon codecs and files to edit compared to say those of the Sony A7sIII but I have no problem editing in real time those files on my computer.
Speaking about IQ, it's quite good, the amount of noise in the shadows is minimal, it's a pleasure to grade those files.

I haven't used the S5 yet, but I do own and have used the S1H for the last year. I love the camera. For me, the biggest advantages are timecode (a must for my doc work when I have external audio), the All-I 400Mbps (sometimes required), and the unlimited record times. The ProRes Raw is great, but the S5 will be getting that soon.
Otherwise, I think the S5's more compact size, better AF (though the S1H is confirmed to get it), and the already amazing 10-bit 422 150Mbps codec that I most often use on the S1H anyway, make it a pretty compelling option. 

It is pretty strange, I didn't pre-order anything, I just went to a very large retailer's site here in the USA called BestBuy and ordered it...got it within 3 days. I was actually surprised because the two main online camera stores in the USA; Adorama and BH did not have it in stock.