Stab

I'm done right there!
A slightly smaller/lighter series 2 would be welcome, but otherwise the above.
But that will never be...even if they do continue the line because all new cameras have to be some great leap over what came before or just get labelled mkii versions.
I was all set to make my S5 my primary video tool for this year, but have just decided to reverse that decision and put the S1H back rightly where it belongs, - as my primary.
S1H A cam because it's the best video camera I have with the best rear screen and best IBIS, plus the OLPF...and it just takes one groom all day long with a shiny suit...
S5 reverts back to B cam because despite it being the smallest and lightest of my trio, it does lag by the tiniest margin behind the S1H in the IBIS department and arguably the S1H by virtue of it's size/weight makes it a better platform anyway. Plus I really hate having to use a rear screen not in line with the lens. 
S1R principally stills but will also be used this year as a C cam, purely during the ceremony. A + B are on tripods front left and front right, the S1H just rolling rolling rolling with fixed subject (The Ceremony) and the S5 rolling for the duration and focused mainly on The Ceremony, but will also be turned for some front row(s) capture. Meanwhile, the S1R will get flipped over to video mode for a few seconds here and there as I rove, particularly from the rear whilst shooting stills.
I was going to flip to OM Systems and their new OM-1, but too soon for me.
This year is now 100% nailed down as L Mount, - zero chance of change, even if I won the lottery and something 100% perfect for me was launched.
Next year however...
1: Hoping for a next gen S2-H/R and S52-HR but not holding my breath on either.
2: Keeping an eye on Sigma, but as their FP/L has 6 'faults' in my eyes, not holding my breath there either.
3: Fuji XH2 could be a contender, but no change for change sake here unless it is 'better' than what I have already by a quantifiable margin.
4: OM-1 still in the running.
5: Nikon/Canon/Sony not in the running for me.
Nothing else even remotely meeting my needs.

These are the camera's I have owned:
- Canon 60D
Then saw footage of the GH2 and was blown away. Since the GH3 was 'around the corner', I waited for that and bought it on the day of release.
- GH3
- GH5 
- GH5-S
- S1
And later added S5 and S1H to the fleet because I need multiple bodies for wedding shooting. 
I'm happy for now. Shooting anamorphic. Great photo capabilities as wel. I don't mind the 1.5x crop in 4k 50p, I think S35 is the sweet spot for videography work. Shooting at f1.8 is still doable focus wise, but has nice separation and is better in low light than shooting at f2.8 in full frame mode. Image quality is virtually the same in full frame mode / s35 mode with much better rolling shutter in s35 mode. With the 1.33x anamorphic lenses and shooting in the 4:3 crop, I'm actually getting about 1.39x crop since the 4:3 sensor crop is a bit taller than the 16:9 s35 crop.
So that's almost APS-H territory. 10-bit colors. V-log. Good rolling shutter. Small file sizes. Great dynamic range. Good low light performance. A great viewfinder (not the s5 though). Good IBIS and even compensates for anamorphic lenses.  I'm done really. New camera's don't even interest me anymore. I got everything I want in a camera and more.
The only things that could be improved in an S2 or so are:
- Video AF, obviously, but I don't care about it since I use manual anamorphic lenses
- Better rolling shutter in full frame mode. Again, I don't care cause I barely use that mode.
- Maybe a ProRes mode of RAW mode for even better colors (won't use it for weddings though)
- OLPF should be fitted on all S-bodies cause there is a lot of moiré / alliassing going on. The S1H is clearly the best in that regard since it's the only body with one equipped.
- The 120 fps full HD modes aren't very good. Riddled with aliassing, low detail and noise. 
I now have 4 S-line bodies and I'm invested deeply in the L-mount so I won't change anytime soon. Very happy with the images coming out of them.

These are the camera's I have owned:
- Canon 60D
Then saw footage of the GH2 and was blown away. Since the GH3 was 'around the corner', I waited for that and bought it on the day of release.
- GH3
- GH5 
- GH5-S
- S1
And later added S5 and S1H to the fleet because I need multiple bodies for wedding shooting. 
I'm happy for now. Shooting anamorphic. Great photo capabilities as wel. I don't mind the 1.5x crop in 4k 50p, I think S35 is the sweet spot for videography work. Shooting at f1.8 is still doable focus wise, but has nice separation and is better in low light than shooting at f2.8 in full frame mode. Image quality is virtually the same in full frame mode / s35 mode with much better rolling shutter in s35 mode. With the 1.33x anamorphic lenses and shooting in the 4:3 crop, I'm actually getting about 1.39x crop since the 4:3 sensor crop is a bit taller than the 16:9 s35 crop.
So that's almost APS-H territory. 10-bit colors. V-log. Good rolling shutter. Small file sizes. Great dynamic range. Good low light performance. A great viewfinder (not the s5 though). Good IBIS and even compensates for anamorphic lenses.  I'm done really. New camera's don't even interest me anymore. I got everything I want in a camera and more.
The only things that could be improved in an S2 or so are:
- Video AF, obviously, but I don't care about it since I use manual anamorphic lenses
- Better rolling shutter in full frame mode. Again, I don't care cause I barely use that mode.
- Maybe a ProRes mode of RAW mode for even better colors (won't use it for weddings though)
- OLPF should be fitted on all S-bodies cause there is a lot of moiré / alliassing going on. The S1H is clearly the best in that regard since it's the only body with one equipped.
- The 120 fps full HD modes aren't very good. Riddled with aliassing, low detail and noise. 
I now have 4 S-line bodies and I'm invested deeply in the L-mount so I won't change anytime soon. Very happy with the images coming out of them.

I agree. I know nothing about sensors but doubt if it’s anything but the same but with the filter.
In camera, with identical settings, they look completely different, that of the S5 very flat and lifeless compared with the S1H, but that’s the screen resolution of the latter being in a different league.

Weird move frome Panasonic indeed. I wonder what the improvements would be but probably incremental.
Panasonic has always innovated, always took the lead when it comes to video since the release of the GH2. And I have started using Panny since I first saw footage that compared the GH2 to the much more popular 7D / 5D Mark II at the time. 
I had multiple bodies over the years. First the GH3, bought on the day of release. The GH5 and GH5-S, same story. At first the S1 didn't appeal to me much, because I was shooting with a GH5-s with speedbooster already and the upgrade looked incremental due to a lack of 4k 60 fps in 10-bit. The S1H was too expensive.
But I couldn't resist the urge to go for a better sensor, so after a year or so I sold off my GH5, GH5-s, G7 and speed boosters and lenses. Now I have S1's, an S5 and I recently bought a 2nd hand S1H for a very good price.
It's interesting how I now have zero interest anymore in a new GH-camera. Or even new camera's from other brands that aren't major upgrades with tons of new features. I'm satisfied. I reached the point of 'this is good enough for years to come'. Finally. After all the camera's I own, I now no longer care about gear.
I mean, I can now shoot 4k 50 fps in 10-bit LOG with incredible dynamic range in anamorphic mode with anamorphic preview and even anamorphic compensated IBIS. I got myself a set of Sirui lenses with modified L-mounts and called it a day. In 4:3 mode the sensor crop is slightly taller than the 16:9 s35 crop, leading to a crop factor of around 1.35x when shooting with a 1.33x anamorphic lens. That's close enough to full frame to me. 
And when the project calls for it, or I need to go a little wider, I can change to the 5.4k 3:2 mode. Amazing really. The camera's are a joy to operate. The buttons feel 'right'. The EVF's are brilliant (minus the one of the S5). I got a Sigma 85mm f1.4 DN and a Lumix 24-70 for photography and the AF is very good. More than good enough for the kind of photo's I take.
Why am I writing this? Because I think many people feel like this in 2021. The current gear on the market is so 'affordable' and good and unlike 5 years ago, there is plenty of competition and alternative in the video world.
I honestly can't see what a GH6 would bring to the table to make me enthousastic for even a second. I think GH-folks also underestimate how good the S1-line camera's are these days, especially ater the firmware updates. Much cleaner images. It's just a shame you can't use your GH-glass on the the S-camera's. But I think most of us were on some kind of speedbooster anyway. So nothing changes there. And Panasonic knows it. They can't release a €2000,- GH6 that is worse in a lot of things than their S1 / S5 due to the smaller sensor. And cheaper is probably not viable for Panasonic. They simply aren't as big as Sony or Canon and don't sell that much.
It's funny how good Panasonic has treated us videomakers since forever, but marketingwise they aren't exactly like Apple. The product presentations with the old uncharismatic men. The 'Lumix' brand, which has as much appeal as a Toyota. I feel like they could have accomplished so much more if they had a more established brand. Or if people would take them more serious. And what was that cinema box release last year. Or that G100 'VLOGGING camera'  with shitty AF and no IBIS. Video quality and feature wise, Panasonic always has been on top. And still, the competition (a7sIII / Canon R5) offer no anamorphic modes, overheat and lack a lot of monitoring tools.
How many times I have heard from people 'What is that? A Lumix??'. 'Yea it's Panasonic'. 
And Panasonic is even a known name in the cinema world with their Varicams. The brand Lumix shouldn't have existed. The same goes for 'Micro four thirds'. Which man wants to have anything Micro in life? It always sounded like a compromise. Micro is better, until the 'Full Frame' (as in, the complete picture) steps up. And it has. A S5 or similar offerings from other brands is now under € 2000,-. 
I say it's game over for small sensors. And Panasonic has some work to do with their branding and future releases. Because I fear for their future as well.
But as long as my S-line camera's keep working, I will be shooting 10-bit anamorphic slowmo in LOG with 12.4 stops dynamic range, in body stabilised, for years to come. 
 

Weird move frome Panasonic indeed. I wonder what the improvements would be but probably incremental.
Panasonic has always innovated, always took the lead when it comes to video since the release of the GH2. And I have started using Panny since I first saw footage that compared the GH2 to the much more popular 7D / 5D Mark II at the time. 
I had multiple bodies over the years. First the GH3, bought on the day of release. The GH5 and GH5-S, same story. At first the S1 didn't appeal to me much, because I was shooting with a GH5-s with speedbooster already and the upgrade looked incremental due to a lack of 4k 60 fps in 10-bit. The S1H was too expensive.
But I couldn't resist the urge to go for a better sensor, so after a year or so I sold off my GH5, GH5-s, G7 and speed boosters and lenses. Now I have S1's, an S5 and I recently bought a 2nd hand S1H for a very good price.
It's interesting how I now have zero interest anymore in a new GH-camera. Or even new camera's from other brands that aren't major upgrades with tons of new features. I'm satisfied. I reached the point of 'this is good enough for years to come'. Finally. After all the camera's I own, I now no longer care about gear.
I mean, I can now shoot 4k 50 fps in 10-bit LOG with incredible dynamic range in anamorphic mode with anamorphic preview and even anamorphic compensated IBIS. I got myself a set of Sirui lenses with modified L-mounts and called it a day. In 4:3 mode the sensor crop is slightly taller than the 16:9 s35 crop, leading to a crop factor of around 1.35x when shooting with a 1.33x anamorphic lens. That's close enough to full frame to me. 
And when the project calls for it, or I need to go a little wider, I can change to the 5.4k 3:2 mode. Amazing really. The camera's are a joy to operate. The buttons feel 'right'. The EVF's are brilliant (minus the one of the S5). I got a Sigma 85mm f1.4 DN and a Lumix 24-70 for photography and the AF is very good. More than good enough for the kind of photo's I take.
Why am I writing this? Because I think many people feel like this in 2021. The current gear on the market is so 'affordable' and good and unlike 5 years ago, there is plenty of competition and alternative in the video world.
I honestly can't see what a GH6 would bring to the table to make me enthousastic for even a second. I think GH-folks also underestimate how good the S1-line camera's are these days, especially ater the firmware updates. Much cleaner images. It's just a shame you can't use your GH-glass on the the S-camera's. But I think most of us were on some kind of speedbooster anyway. So nothing changes there. And Panasonic knows it. They can't release a €2000,- GH6 that is worse in a lot of things than their S1 / S5 due to the smaller sensor. And cheaper is probably not viable for Panasonic. They simply aren't as big as Sony or Canon and don't sell that much.
It's funny how good Panasonic has treated us videomakers since forever, but marketingwise they aren't exactly like Apple. The product presentations with the old uncharismatic men. The 'Lumix' brand, which has as much appeal as a Toyota. I feel like they could have accomplished so much more if they had a more established brand. Or if people would take them more serious. And what was that cinema box release last year. Or that G100 'VLOGGING camera'  with shitty AF and no IBIS. Video quality and feature wise, Panasonic always has been on top. And still, the competition (a7sIII / Canon R5) offer no anamorphic modes, overheat and lack a lot of monitoring tools.
How many times I have heard from people 'What is that? A Lumix??'. 'Yea it's Panasonic'. 
And Panasonic is even a known name in the cinema world with their Varicams. The brand Lumix shouldn't have existed. The same goes for 'Micro four thirds'. Which man wants to have anything Micro in life? It always sounded like a compromise. Micro is better, until the 'Full Frame' (as in, the complete picture) steps up. And it has. A S5 or similar offerings from other brands is now under € 2000,-. 
I say it's game over for small sensors. And Panasonic has some work to do with their branding and future releases. Because I fear for their future as well.
But as long as my S-line camera's keep working, I will be shooting 10-bit anamorphic slowmo in LOG with 12.4 stops dynamic range, in body stabilised, for years to come. 
 

Pretty much where I am right now.
That will not be the case forever of course, but I can't see a scenario for me doing anything different now for the next 3+ years, ie, I'm set and have reached 'peak camera'.
I still have an interest in what's going on out there, just not as a buyer, but as above, what I have is 'good enough for years to come'. In fact, MORE than good enough.

I've only used the S1 and S1H (and EVA1), but I remember someone posted a comparison of the S1 and S5 and V Log was more green on the S5.
Which is good, the EVA1 has better color than the S1 in part because it's lacking such a strong magenta tint:
Of course, compared with Alexa footage, everything looks magenta!

Wasnt the sensor in the s1 and s1h made by TowerJazz? 
That name has been thrown around here a lot when the cams came out. Although it is a bit curious that the cams of that generation all have pretty much the same specs, i.e. Sony a73 / Nikon z6 / S1(h). 

They may actually be correct.  If we were able to analyse the focal length of every second of video watched by everyone in the world ("person viewing seconds" as it were) and look at what the most popular focal length was, it would likely be around 24, just because of the amount of content that is shot on phones (and kit zoom lenses also add to that but probably don't tip the balance).
Selfie culture has really made a huge impact on how people see themselves too.  A huge percentage of my female family and friends don't like me shooting video or photos of them because of what the "longer lens" does to them - ie, the wide-angle distortion from taking a selfie at arms-length that they use to make themselves look thinner / cuter is absent, but because they've gotten used to the distortion they think my lenses "do" something to them rather than understanding that their selfie camera "does" something that my lenses do not do.

Incorrect. Still 1.56x crop in 4k50p and 60p.

Oh yea, and the biggest thing is actually the abillity to shoot 10-bit in 4k 50 fps / 60fps. Albeit 4:2:0, still a thousand times better than 8-bit. It makes shooting in v-log feasible.

I don't think I'll need another camera for the next couple of years.
I own 2x S1 and 1x S5 at the moment, and they are exactly what I  need at the moment.
The only 'downside' is that the camera's can't record 4:2:2 10-bit and full frame at 50 fps. But, I have now invested in anamorphic lenses and these camera's offer great anamorphic support. In camera desqueeze and even the IBIS takes the squeeze factor into account. Also nice is that the 4:3 crop of the sensor is a bit higher than the normal S35 / APS-C crop (and slightly narrower) and that means that the crop factor when shooting a 1.33x anamorphic lens is reduced with about 20% as opposed to shooting in s35 mode. That's close to APS-H territory which is IMO, all you need for video.
Add to that the great photo quality and decent AF (for photography), the relatively small filesizes, the great DR when shooting in V-LOG 10-bit and the price... I really can't complain.
Well if I have to complain, it's the lack of an OLPF. 

Yes films can be political. And sometimes they should be.
But then there is a whole world of films which aren't, and that is perfectly fine as well. We need both kind of films. There is nothing political about Shutter Island, but it is still a a great film with a great story. I'm sure audiences, all over the world, enjoyed the film. It wouldn't matter much if the main character were black or purple, but Leo did a great job. That is what I call an 'inclusive' film. Everyone enjoyed it, no feelings hurt.
But when new scriptwriters are kind of required to include certain themes and main characters of color, that is where I draw the line. And if that is how it's going to be from now on, I opt out.
 

Again, a great point I forgot about. I did have two of these, and now I record on Ninja V exclusively, so had forgotten, but yes it's a travesty. To allow this in their top DSLM body and just not address it other than tell people to buy new cards, then start blaming card manufacturers etc... it was all terrible.

I just switched to Ninja and carried on. There's no visual gain from ProRes at all, even if you push the footage into a pixelly mess of colour it's the same, you just have bigger files and slightly easier compatibility.

I'd prefer to use internal but I don't trust it, so yeah I see what you're saying.

The Ninja is a good tool regardless, but I wouldn't want to carry it around for a wedding, you'll wanna stay light I guess? I've never shot a wedding.

I don't think I'll need another camera for the next couple of years.
I own 2x S1 and 1x S5 at the moment, and they are exactly what I  need at the moment.
The only 'downside' is that the camera's can't record 4:2:2 10-bit and full frame at 50 fps. But, I have now invested in anamorphic lenses and these camera's offer great anamorphic support. In camera desqueeze and even the IBIS takes the squeeze factor into account. Also nice is that the 4:3 crop of the sensor is a bit higher than the normal S35 / APS-C crop (and slightly narrower) and that means that the crop factor when shooting a 1.33x anamorphic lens is reduced with about 20% as opposed to shooting in s35 mode. That's close to APS-H territory which is IMO, all you need for video.
Add to that the great photo quality and decent AF (for photography), the relatively small filesizes, the great DR when shooting in V-LOG 10-bit and the price... I really can't complain.
Well if I have to complain, it's the lack of an OLPF. 

Yea, I would buy an S1H if it wasn't for all the people complaining about corrupt .mtd files, camera freezes, etc. I also had those with my 3 S1 bodies. Many times and I was furious when it happened during weddings. But since I changed to CFexpress recording, I have no more problems. The S1H does not have that option, only SD-card recording. Which frankly, I don't dare to use anymore on paid gigs. Especially weddings...
Now there are many people without problems, but some never had problems and then all of a sudden, boom, a corrupt file. Did you ever have anything happen?
The Facebook groups of 'S1 and S1 users' are full of those posts.

Welcome to show BUSINESS.  I truly hope you don't think you're entitled to have it work the way you want it to work.  You can easily find a niche in it, but if you're condemning the overall market, I'd recommend you pull back your angst a little.
I also worry that too many people conflate the modern diversity trend in filmmaking as solely a sort of social justice woke movement. (One they don't agree with, perhaps?)  I'd suggest anyone that truly believes the industry is going woke because they're compassionate humanitarians, simply ask themselves,  "In a global market what sort of movie has a better chance of appealing to as many people as possible?"  These are business decisions that might be championed as "woke," when, if anything, that woke-bragging is simply a useful marketing ploy to use after the thing is made to increase product awareness. 
Tail, dog, wag.  
As for Netflix, you're basically complaining that Netflix understands it demographic analytics.  Netflix has data vectors on it's viewers that understand modern life better than the people that actually live it.  I mean, c'mon now, the only reason for them to do that is if the entire organization would rather be racist than make as much money as possible.  They want a product they can use.  Offer it to them or, as you indicated, don't.
https://towardsdatascience.com/how-data-science-is-boosting-netflix-785a1cba7e45
Here's a hypothetical:  if it was somehow possible for Disney and it's shareholders to make 200 Billion $$ next year with a 3% annual growth by marketing to, say, aboriginal Pygmies, would they do that in a heartbeat and immediately ignore everyone else?

Unfortunately it's a feature of this world that when one wants other people's money to do something, one has to do it in a way they want. Submit your script, once you have a producer. It may well be the case that if there are no aspects to it that are exclusionary and they like it they'll be interested. Diversity doesn't have to be explicit as in - this character is a black lesbian - but the corollary is true - we can't have 'this character is white'.
At the end of the day, however, it may be better to try to find purely commercial funding for movies that don't fully satisfy the wishes and/or mission statements of publicly-funded bodies (which generally exist to fund projects that can't attract commercial funding).

Right, so you think that for 4:2:2 a M1 is necesarry. But for h265 4:2:0 a powerful CPU (such as a 5900x?) might be enough on  Premiere?
Couldn't quite figure out what you meant to say.

Hello!

I exclusively use Premiere Pro and run with 32GB of Ram with a Ryzen 1700X with the Vega Frontier Edition 16GB Video Card, and I edit 5.9K H.265 from my S1H, albeit at the minimum reduced resolution. The performance is not optimal, as there are tons of dropped frames, but I also edit video straight off of my NAS drive over a 10GB SPF+ connection. If I copy a project locally onto my SATA drive, performance improves quite a bit. I also get a big performance boost if I have only 4K 60p footage.
Here is a screenshot of my typical sequence, which I consider moderate complexity.
I would have thrown in a 5900X or 5950X by now, but my motherboard doesn't currently support it 😞.

i have 5900x 2060 64gb of ram
i have S1 playback on timeline is no problem. i can even color grade while play back in Realtime same with my Mavic 2 drone footage which my old pc had a tough time playing on timeline. Never tried stacking footage but I'm sure it can handle it 

Intel i7 6700 K 4GHz, 16 GB RAM
Shooting S5 4k 50p 420 LGOP 200 Mbps
Was shooting XT3 4k 50p 420 LGOP 200 Mbps
Both h.265 I think...?

When I was using my XT3 which my PC and Premiere hated, I 'simply' auto batch converted all the footage to Pro Res overnight, ie, didn't take me any time other than perhaps 1 minute to set it up.
That way, as soon as I was ready, the next day or whenever, I could just get on with the job.
No problems with the equivalent footage from my S5 however, ie, no conversion needed.
I do need to get myself a laptop for next year as I will be working on the road quite a bit so looking at something M1 as it seems just the ticket.

I've been running a machine with a similar spec for a year or so, 3950X with 64G ram and a card upgrade to a 2080 Super. No experience with the S5/S1H though. I do edit H.265 files from an M2P and H.265 files from X-T3s and T4s, which are both 10-bit 420. Doing simple edits to a few clips is fine, but I find the machine gets cranky if I am really layering the H.265 files and doing color grades plus heavy effects live warp stabilizing. I agree with @fuzzynormal that proxy editing is the way to go. It's pretty simple and quick to load your batch of files into your Premiere project and then batch create proxies. If storage is an issue, you can trash all the proxies when you finish a project and just remake them if you use the footage again at a later date.