IronFilm

Who wants to tell her that if she had just turned around and faced the setting sun, she could have continued using her iPhone?
Not it.

Its funny smartphone brands trying so hard to fake the "DSLR bokeh" but Gen Z do the subject separation by flash light. They don't care about the brand's solutions, they find their own. 
I think physical controls is part of the appeal. Here is what my smartphone live view looks like when I want to change the most basic settings. Almost 80% of the screen is occupied by the UI elements:

Now imagine I want to change the ISO. Not only a considerable area of the 17:9 screen is wasted due to 4:3 size of the LV, but almost the third of LV area is crowded with numbers:

Compare that to G7x. Its a small LCD, but at least most of the area is junk free. And it was Canon that was the most aggressive brand in icon inventions:

And then look at here, you can zoom in/out with your left hand when you're taking selfie or filming yourself. This control looks amateurish for us but its huge ergonomics advantage for TikTok generation:

But no just TikTokers. Look how this cyclist holds the G7x. Some PoVs here are impossible to take with a huge 6.7 inch smartphone:
https://www.instagram.com/reel/C-AOlHAscs8/
BTW, Canon marketing never managed to make an advertisement with 1.7m views that this guy did while not even trying. 

Yep. While I'm glad I have a phone on me when a picture is needed to be taken but it's not a good experience. The advantages of a phone camera are: -You usually have it on you. (Best camera is the one you have with you. That old saying.) -You can email them to someone right from the camera (or post to social media or whatever.) without having to copy to your computer first. -The screen is big compared to a compact camera. -Stablization can be very good.
That's about it though. There are many problems with taking photos with a phone. (Except for some recent high end models) zooms aren't good. It's hard to see the controls in bright sun. The iOS camera app's text size for the settings (like time and flash) are super tiny (and hidden away) so hard to see when out in the sun. A real camera would have a larger button or dial for this that you can feel and see easily.
Part of the reason the stability appears to be so good is that the phone takes a bunch of images then combines them, helped by the gyroscopic data, to create a picture. It looks pretty good for an easy snap shot and is good enough for most things but it's not "real" in the sense that the shutter opened on a sensor/piece of film for a moment of time and captured that.
The desire for authenticity isn't new but tends to come from demographics that are surrounded by fakeness. 

Scans. My 15yr old just bought a twenty quid Sony 10MP CCD compact. He specifically wanted CCD and he uses the flash on nearly every pic - loves the look.

Different strokes for different folks as they say…
Despite being a full-time pro photographer (not so much at this time of year though) or perhaps despite being, I prefer my phone.
I like the idea of a compact but the simple reality is that old adage of the best camera you have is the one you carry with you. And 2 devices at all times is 1 too many for me.
If I was going on a serious trip, I’d take some serious kit. Not the entire kit, but enough to do the job without taking over from the purpose of the trip. Unless it was specifically a photography thing.
So send me out today with 1k burning a hole in my pocket for an every day compact and I’d come back with a phone.
But I will take your Sony A7RV sensor based compact for work purposes please Andrew!

^ Agree ^
The only reason I switched (2 reasons actually) to S5II's was:
A. I needed more reliable forward motion AF tracking. The AF of the first gen FF S line cameras was and is perfectly fine, except in this regard when it can be a bit hit and miss and just one miss with a critical unrepeatable scene and it's gone.
I shoot weddings so I am thinking bride entrance, confetti walk etc.
It happened. Several times.
B. I shoot outdoors mainly and some days, over 35c / 100f, direct sunlight and without a fan is not good. 
I never had an overheating issue, but it could just have been a matter of time and was constantly on my mind.
With the S5II's, they still get hot, but I am not concerned.
_
I have personally never noticed any file quality difference between the S5 and S5II, but then never shot them side by side and 6 months apart.
There may be a difference, but nothing I have noticed or concerns me especially.
IMO, the S5 is the budget filmmakers bargain of this current decade.

The overall quality of life improvements (plus auto focus) are just worth it to me. Currently my three camera set up is the S5II X and two S5 bodies. I just prefer the image out of the S5, it has better colors and just looks more natural (less sharpening.) That's not to say that the S5II doesn't have a good image, though. It really boils down to preference.
I've only used the S1 a few times, but it's a great camera too! I do think the S5 though is overall a better value on the used market. It's crazy how affordable they are.
 
Some will tell you they are awful and completely unusable, but they are fine once you figure out how to work with their limitations. But there are limitations and it's important that you know that going in. It is nice not having to worry about it as much with my S5II X BUT there are times when that auto focus fails, as there are times when Canan and Sony auto focus fails.

1) With the caveat that I don't use AF, the Panasonic S5 is a wildly good value at $800 used (what I paid for mine). Imo, the improvement in noise and dynamic range over the GH5 is worth it, but if you're always in well-lit areas maybe you won't notice much benefit. If you aren't tied to existing lenses, camcorders can be more convenient than hybrids. I'm not familiar with available models since I don't shoot events, but I'd research camcorders for event videography with no photos.
2) C400 or FX6. The C300 Mk III is also fine--I choose full frame because of the lenses I own. It also depends on how much weight matters, as the FX6 is extremely light. If I need photos as well, then add a photo body in addition, and honestly everything is so good these days that I'd take anything modern.
3) Assuming 1-3 person camera crew, it depends on the script. My general pick right now for myself is a C500 Mk II (cheaper than a C400). I used to have Z Cam, which has unbeatable wireless monitoring and control, but I don't like the lack of color management support in Resolve. I would pick a Z Cam F6 if I need to fit the camera into tight spaces. If it's a lot of fast action like a car chase, a Komodo's global shutter would be great. The Ronin 4D is also very interesting for extensive handheld--never used one myself, though. If I can step up in budget, I'd love to try the Blackmagic 12k LF.

With the recent price drop, the Pocket 4K is now under £1K new and that has pushed used prices below £700 so they are now far more affordable.
It shoots ProRes as well as BRAW so theres no need to get involved with Resolve and even if you did want to shoot BRAW there are now direct importers into FCPX.
As you are shooting multi-camera for live events etc then the BM range are absolutely hands down better options than any other range for work like that. 
With the ATEM Mini Pro series starting at under £300 you can do the live camera switching (or even just very efficient multi camera monitoring to a single monitor) and have full remote control of the cameras as well.
If you get three used P4K cameras and the ATEM Mini Pro, then its £2.5K for the whole integrated multi camera system and the cameras are obviously more than capable in the cinema role too.
Particularly as it is roughly the price of a single X-H2S.
Without the live aspect then options such as the X-H2S etc are a good choice of course but as an all round system for fulfilling the different roles that you've listed then the P4K x3 /ATEM Mini Pro is far more suitable in my opinion.
 

If budget is no option, FX6s all around. You're talking a sturdy body to handle the shake of long lens, good autofocus, good low light, good audio and timecode options, good dynamic range and color. If you are majorly constrained by budget, GH5s would be fine, FX30s would be better if you can afford them. As some have mentioned though, lens constraints are a major factor here. 

There’s been a few instances of Blackmagic doing a large price drop seemingly completely out of the blue. Their official reason has always been that they lower the sticker price when their cost of manufacturing drops, whether by economies of scale or something else. No idea if it’s true, but they’ve done this type of thing before and I love it.
 
P.S. They also have marginally raised prices on things recently due to supply chain shortages where many other manufacturers haven’t. To me, that points to some truth that they have strict profit margins to maintain without much wiggle room.

f me.  I'm over here shooting a doc with an EM10iii I bought used for $300 and thinking, "Dang, this looks pretty good!"
 
And yet now I want an SL2.
 
Damn you all.

I have the 13mm. Sharp as hell.

I guess for audio the Amish won't be allowed to use a carbon fibre boom, and it has to be a wooden boom?
 

They will indeed say nothing about Panasonic. But we all know the SL3S is just going to be a rebadged Lumix camera. 
That it's relatively easy to reverse engineer the logic to conclude we'll probably see the Panasonic version of the SL3 released six-ish months later. 

They will indeed say nothing about Panasonic. But we all know the SL3S is just going to be a rebadged Lumix camera. 
That it's relatively easy to reverse engineer the logic to conclude we'll probably see the Panasonic version of the SL3 released six-ish months later. 

I think you misunderstood my post. I was saying that whatever the SL3-S ends up being at this weeks announcement could give us a clue of what to possibly expect out of the S1H2. Of course Leica isn’t going to mention LUMIX. Ever..
But the normal flow of product releases has been all messed up between the two companies so at this point, who knows…

I think it will need to be a hell of a camera simply to exist…which may explain why we have heard next to nothing about it. If one will ever exist…
I’m still not sure about the latter but think it more likely than not and if one ever does appear, probably last chance saloon for them at that level?
The ‘S2R’ seems far more likely doesn’t it and ‘should’ be a re-bodied SL3.
I have my fingers crossed for that for mid-Spring latest or it won’t work for me this year. Or possibly ever. (Pure business perspective).
For video I have needs and they are covered.
For photo I have both needs and wants and those are technically also already covered, but I want to have everything within one system ideally.

Sorry if I wasn't clear!  I meant that since there are rumors about Leica releasing an SL3-S (which would almost certainly have Panasonic guts, just as the SL3 does) and because there are rumors that Panasonic will be releasing two bodies soon (one of which will likely be the S1R II which puts SL3 guts in a Panasonic body), it's not out of the question that whatever is in the SL3-S will be in Panasonic's S1H II.
I'd say that Panasonic sales don't meaningfully compete with Leica sales - both are niche companies and Leica is much more the "luxury" brand.  However, if Panasonic release an S1H II, it will be competing with their own S5 II which is already really good (not to mention the original S1H which is also really good).  The S1H, when released, was like $4k.  At almost 2.5x the price of an S5 II and still more than 2x the price of the S5 IIx, an S1H II is going to have to be a hell of a camera to ship more than a few units (assuming the price stays similar).

Do you mean a potential S1HII vs a S5II or SL3-S vs SL2-S?
Both are pretty niche aren't they as in 'we' may love the S1H but in terms of global sales next to the likes of the equivalent Sony & Canon options, it's not exactly been a massive seller.
Leica is just niche full stop and that is part of their thing, ie, being small (as a company), desirable and expensive whereas LUMIX can't play in that arena.
Same as Hassie. They can both play that heritage card even if one of them is owned by DJI.
Leica could get away with simply having the SL3 body and the tilt screen over the old SL2 body in order to create an SL3-S.
If LUMIX were simply to stick the internals of the S5II in the S1H body, they would be slaughtered.
Personally I think that would be a great camera and I'd have one over the S5II but the Armchair YouTube Authorities would destroy it. Other than a handful of LUMIX diehards.
Any S1H mk II HAS to be more. What the 'more' is, is the big question...
 

I heard the Amish community were thinking of doing the same...except it will have to be a series of live action events rather than a recorded production or stream.
The acting will probably also be a bit wooden...
Boom, I'm here most days 😘

The cross? 

VR is fun! I've worked on a number of VR projects over the years. 
I've got my own 360VR cameras and an ambisonic microphone, so if you ever wish to get together to collaborate on anything then I'll be keen to join in and help. 

Thanks! Might explore gaming and VR related stuff, one of the non-profit religion group I m working with have teaching in VR, that was quite a cool experience.

I feel that's a fairly fixable issue within the next few short years. You'll use a reference image that the generated video needs to adhere to.