Juank

I believe they will, or will at least be surprised if they do not.
My ‘prediction’ is they will skip the direct S1 replacement and go for a twin pairing of next gen S1R and S1H with the S5ii fulfilling the place of the S1.
I have zero idea re. their figures but the sales of the S1R especially cannot have been great? That camera is criminally under-regarded.
Ditto the S1H. My second one turned up today and is charging. 1800 euros, condition ‘excellent’. When the S5iix comes out, prices of used S1H’s will drop even further but IMO, it may be 4 years old, but it’s a better camera in every regard except the obvious AF.
I would like to see and almost certainly would upgrade to ‘S2H’s at some point, but part of me also doesn’t really care because there is nothing more I actually need, just would like.

" Test 2 of a7SIII vs S5II. 24-70 GM II vs Sigma 24-70 L Mount. 
AF settings are set to default on both setups and WB is set to 5600K on both the whole time.
The same LUT is applied over both clips with the only a few minor exposure tweaks to get them closer in color.
The S5II was shot in VLOG and the a7SIII was shot in S-LOG3.Cine"
Testing Sony a7SIII vs Lumix S5II - 24-70 GM II vs Sigma 24-70 L Mount.

 
 

8k phone for an 8k tv, what a waste:)
Lumix G7 will look better on a 4k tv than that:)
what a waste of resources it is, all that madness of 8k from a phone on power hungry 8k tvs. whate a waste regarding energy for production, resources and power hunger when used.
my two cents. but congrats on having owned the g7. a great but humble cam. love it. classic 😊
now best video quality from cheap phones is a hot topic imo.

Get a cheap 4k cam instead, if funds are low. Much better than any phone and much cheaper than a XH2! 😂
Used Lumix G9 does perfect 4K 10bit HLG for 500 USD, additional VLog profile per purchase possible. Awesome former flagship camera with all bells and whistles. G85 does nice 4K for 300 USD, GX85 for 200.
Much cheaper than 8K XH2 and a 8K TV. 😂
That saves you lotta funds.
And saves the planet too a tiny bit:)
 
 

Ended up ordering a used Xiaomi Mi 10T Pro for £180 (probably around $220). Will try to remember to post an 8K sample after I get my hands on it in a month. I expect it will be decent for bright landscapes, but mushy and/or noisy for lowlight. Will probably bake in the look I want to avoid editing artifacts but I think it does shoot log, so will try pushing it with editing too.
Sounds like the sensor is the same as the one in 3 year old Samsung flagships like the Note 20 Ultra (Samsung ISOCELL HMX sensor). But it will shoot at a higher bitrate. I thought the first very high MP sensor on a Samsung was a bit of a gimmick when I tried zooming in with it in a shop 2+ years ago. Fingers crossed this isn't mushy too. 

14bit readout on X-H2s absolutely does not offer any tangible benefits. The sensor design cannot take adavantage of higher bit-depth readout as the extra bits are really only there to quantise noise.
 

I shot a feature last year on the S1 and S1H in ProRes Raw and absolutely loved the results.  Towards the end of last year, though, I considered jumping to the Nikon Z9, not immediately, but when I needed to as it wasn't clear the S line would have a future.  Luckily the S line does have a future and I have not been able to find an Nraw sample that makes it look good.  Curious to see the ProRes Raw from the cam, but bummed its not fully resolution.
Thanks for doing these tests.

That's really strange that the H.265 of the A1 is coming out ahead of Z9's NRAW! Now that internal recording has been tested, what about testing the external RAW of the A1 against NRAW and the external 8K of the Z9 to see how that measures up? Also, despite the issues present, how do the clips hold up in post? Perhaps there's some attribute to NRAW that can be fixed in post correction? Lastly, could there have been any kind of setting on the Z9 that could have altered these results?

Someone has been working with a Raspberry Pi high quality camera module to make their own 1/2"-sensor open source, raw-capable cine camera:
Placed into a 3D-printed body, the components reputedly only cost $200 (this probably assumes that you already have a monitor of some kind). The demo footage is surprisingly good:

For anyone who wants to learn more about this project, here is the development thread: https://forums.raspberrypi.com/viewtopic.php?t=296776

I felt the same way after the R5 ridiculous BS, but I had to set my personal feelings aside and buy what was best for my business. I came very close to going all in on Panasonic for photography and video but I couldn't bring myself to buy into the L mount "alliance" or go all in on a system with such terrible AF.
With Panasonic out of the picture and my large collection of EF mount lenses, when the C70 came out and the R7 came out they were simply what was most economical and what worked best for my business.
Canon sensors really aren't known for their DR, even the C70 with its famous DGO sensor is just ok IMO, not the revolutionary breakthrough that the marketing materials would lead you to believe.  But with all modern cameras being so good, just ok is good enough for me when combined with its other features. 
I feel the same way about the R7, and R6II, their IQ is good enough for anything I need and the story you are trying to tell with them is far more important than specs on paper. 
The R8 on the other hand IMO has a lot of real world compromises (battery size, ergonomics, single card slot, etc.) that I feel are more important than IQ to keep it at its current price point with a FF sensor. YT and other social media platforms do far more damage to my IQ than any crop sensor or line skipped footage ever will. 
Today right now I feel that Sony and Canon have the most complete ecosystems, since I already have an investment in Canon EF glass, it is a natural choice for me to stick with Canon's ecosystem.

Maybe I'm blind but I've now looked at all three of these videos on my monitor (as opposed to on my phone) streaming at 4k resolution and pausing the video on relevant frames. I'm sure there is a difference but I don't see anything that I would object to in the S5II shots. If anything the moire control seems to be working because I saw some in the standard profile S5 shot that wasn't in the comparison shot for the S5II!

I just saw there is NO smoothing in C4K ! The picture looks exactly the same than the S5 and S1. 
However 4K and 5,9/6K are impacted, and sadly V-log as well.

You can see how some textures look in 4K, look at the green grid :
 
There is a big difference about details rendering between 4K and C4K, 4K sometimes looks like upscaled 1080P with some textures like skin. I hope panasonic will fix this in a firmware update soon.

Like the GH6, the S5II uses a sort of digital aliasing/moiré filter to helps with repetitive lines. I use Panasonic cameras since the GH4 and there is something I really disliked about image quality on their new cameras since the GH6 and now I know what is it.
This + the increased noise reduction on the standard profiles make the pictures sometimes weird/plastic, especially on skin. 
Fortunately, this digital moiré filter is a bit weakier in V-log but still there. To compensate the softening made by this digital filter, Panasonic has added more sharpening compare to the S5 especially with standard profiles, and (according to what I see on facebook) even in V-log when both camera have the sharpness set to 0. But the end result is not really good, the image looks sometimes weird mostly when there is motion or on the skin because it smooths some textures (like skin pores) and sharpen other ones (like eyelashes), so there is less details (despite higher in camera sharpening) than on the S5 and S1.
 

First, the Flat profile is indeed a log profile, and the gamma can be adjusted in the camera. And 10bit colors was available at the start even in 5.3K 60p. In Linear mode, there is hardly any fisheye, and at 5.3K resolution there is plenty of detail for 4K despite the crop.
But now with GoPro Labs firmware:
1. You can up the bitrate to 200 Mbps (HEVC, 10bit).
2. You can now shoot 4K 120p in 10bit (newest firmware).
3. You can turn off noise reduction - and you get visibly more detail, and any noise is actually very fine.
5.3K using 2.35:1 crop (10bit, Flat, Linear, extended color gamut (Native), 180 Mbps HEVC):
4K 120P 10bit, Flat, 180Mbps:
 

Yes definitely. With Blackmagic I believe the Fairchild sensors were dual gain but not the newer pockets or the Ursa 12k. 

So much goes into cameras its hard to determine what is actually advantageous. Recently I used both the Sigma FP and ARRI Alexa Classic on a feature film. It was a good opportunity to put both cameras through their paces in a variety of scenarios. During production I began to question my decision to use the Alexa classic due to its size. However now that I just finished coloring the film I can say the Alexa was so much easier to work with in post. It just looks nice without any work needing to be done. It is also so easy to adjust. We only shot in prores 422 sometimes at 1600 iso for low light scenes. It still looks amazing. 

I worked on a short film where we shot on the Z-cam S6 in 4k prores 422 and Panasonic S1 in the 10 bit 4k codec.  We came back to reshoot a scene and used the Alexa. Again the Alexa felt so effortless in post. I am sure my post workflow for the Panasonic could be better. But I can't argue with my eyes. Probably not a fair to compare a once 80,000 Hollywood camera to a prosumer $2000 camera though. 

Even when shooting in 422 it's still doing a 14 bit readout. But I think the color science and processing is almost just as important. I know that with the right post workflows most cameras can look identical these days when shooting 10 bit log or RAW. But the simplicity of cinema cameras has really drawn me away from prosumer gear, seeing as you can get a lot of older RED's and Alexas for reasonable ish prices these days. 

The sensor in the z9 is designed for speed. I've found Nikon flagship D4/5 cameras lacking in dynamic range.  It was the first thing I googled when it came out: what the video dynamic range was like, and from everything I could find it wasn't great. And yep the odd video sample with gnarly highlight rolloff. Say that itqs dynamic range is limited in a Nikon group and people go slightly nuts 😆.  I'm a Nikon shooter, im used to waiting: so I'm waiting for the z6iii or z8, and Nikon hopefully getting back to the 14 stops of the d8xx's

Many great cameras out there!
Especially for video. There is no argument about it.
Having seen almost everything in the last 3 decades, the value for money we are getting right now is unbelievable.
Ask me for any camera in the market, and I can tell you 5 things that it does amazingly well that you couldn't even do 10 years ago..
Just embrace and enjoy!

There aren't that many. Off the top of my head:
Sony F35 - Super35 Sony SRW-9000PL - Super35 Sony Genesis - Super35 Digital Bolex D16 - Super16 Ikonoskop A-Cam dII - Super16 And then you get into 2/3" CCDs, and there are a ton of those. Here's a good place to look for the Sony models. On the Panasonic side, there were the HPX and Varicam bodies. Toshiba, JVC, and Ikegami also had 2/3 CCD cameras, but they were mostly standard definition.
There were a handful of 1/2" CCD camcorders, mostly from Sony as I recall.
1/3" CCD sensors were mostly found in fixed zoom lens cameras like the HVX200, FX1, Z1U, DVX100, Canon XL/XH cameras, and some of the JVC GY cameras. But 1/3 sensors are pretty small.
Compared to today's mirrorless cameras, these cameras were mostly very large and meant to be operated on shoulder or tripods. The smallest and most manageable of the bunch was the Digital Bolex, which now goes for around $7K used.
The Sony F55 is a MOS sensor with global shutter, not a CCD camera.
If you'd like to have a small CCD camera to try out, I'd recommend the diminutive and inexpensive Lumix FZ47 (FZ48 in the UK). It's fixed lens and can't record in 24P or 25P, but it does shoot in 1080P and the 1/2.3" sensor is larger than any of the 1/3" cameras. And the image stabilization is surprisingly good, which is useful for the ~600mm equivalent zoom. Here's some footage I shot:
I personally love the camera, but I wouldn't say that the grain is good at all. If you freeze-frame the footage, you'll see a ton of temporal ghosting and macroblocking. But in motion, it's one of my favorites.
And here are some of my photos with it (JPEG only, the camera does not shoot RAW): https://distanceandelevation.com/blog/2021/8/9/bandontoportorford

Hi All:
I decided to bite the bullet and upgrade to firmware version 3.0.  I am delighted to report that communications with the RS2 did not change as a result of this firmware.
As for for video auto focus, I took 8 clips at 60 FPS of ring tail doves against trees denuded of leaves.  Of these 8 clips, only 1 was out of focus.  Balance were sharp.
I also took 4 clips at 120 FPS.  Three of them were of ring tail doves against the same denuded trees.  All three clips were in-focus.  The fourth clip was of grackle in the same de-nuded trees.  Because there was more contrast between the bird and trees I expected that this clip would remain in focus.  It did not.  That was a disappointment.
More testing is required.  But my first impression was the video autofocus for version 3.0 is an improvement over 2.1.  However, FujiFilm still needs to continue to make improvements.  I look forward to the next update.
Don
 

To anyone who is interested in recording ProRes RAW with the X-H2s, I just got confirmation from Fuji that they convert X-Trans to Bayer in the camera, as I suspected. Because the two patterns are different, you have to calculate what's not there. So let's say at a given pixel X-Trans stores red but for Bayer we need blue. I asked Fuji if they interpolate this blue using the surrounding blue values in the X-Trans pattern or they just copy the value of a blue neighboring pixel. The latter is faster but more prone to artifacts. Unfortunately I received an one-liner that this is proprietary info.
I'll know more when I test this out myself, I'll receive a Ninja V+ in the following days.

I have seen amazing deals on used M1 Macs. You can often save 75% sometimes even 50%. Tech devalues so fast it is crazy. 

Skintones are looking good to me using a LUT I made for the GH6:
 



Over the weekend if I have time I'll try to shoot some charts with the GH6 and S5II to check how close or not the colour is.

Same setting later in the gloomy day, but the VR180 video is based on 8KDCI RAW clips. DeBayered in the Canon VR Utility program to REC709. H264 8bit rendered clips merged losslessly.