deezid

I care! You made a brilliant point about the smoothness of the Panasonic S series V-Log compared to what other manufacturers are doing with their profiles at the same price point. That's worth more to me than AF.

Not the reason at all.
Both Nikon and Sony do heavy processing on their footage. Strong NR creating all kinds of artifacts and strong sharpening with halos around corners. 

If you want a proper Sony camera which doesn't look like video, the FX9 and above are your only choices. While Panasonic starting with the S5/S1 and above looks really organic.

-1 on the S1H equals 0 on the S5 and S1 😉
No issues with ghosting or smearing.

Ok. Fair enough. 😊👍🏼

In the UK there’s a main dealer S5 bundle for £2080 which includes 20-60mm lens, Sigma 45mm lens, extra battery and shooting grip. 
Given that the kit lens is over £400 more on its own, the value of the extras in the bundle makes the S5 body price around £1100.
This assumes that you want the two lenses, grip and battery of course. 
But does put it at the same price level as the Canon RP. 
How would everyone have reacted if the body only price had been this low?
Seems to me that Panasonic really wants to kick start sales of this. 

The A7siii is $1,500 more. The S5 is going after the same market as the A7iii

The s1's internal codec is 100% good enough for a theatrical feature. 
But if you plan to RIP into the footage with extreme grades then yes, the All I codec is better. 
Just like raw isnt nessesary but it's nice to have. 
For a low budget indie film with a small crew, the Panasonic mirrorless cameras are a great tool for achieving a cinematic image with their dynamic range, color and ergonomics. Especially now with the S line and the varicam look these cameras produce. Plus they're 10bit 422 which opens the doors for post. 
I dont think the s1h is lacking that magic. Looking up films shot on it, I feel its image is right up there with the cine cameras of today. 
Once you get a great sensor on your hands an equally as good lens is a must to truly experience the potential 

Remember this ?

So, again, I find myself thinking that tonight's tweet is a very funny way to spell "Boy we were wrong about this and our sincerest apologies to Andrew for trying to incite you all to pour scorn on him when he raised this on day one".
Shameless.
 
 

According to the leaked press text on L-rumors "The powerful Dual Image Stabilization with 5-axis enables 6.5-stop slower shutter speed."
https://www.l-rumors.com/panasonic-s5-will-cost-1999-and-here-is-the-full-leaked-press-text/

Well, supposely the specs are real, the S5 is better regarding codecs and VLog profile out of the box. Firmware update for S1 or information about it would be very appreciated. Would be a bummer to buy the VLog update right before a free one. Would be wasted 200 squids!
My work with the S1 is 90% video. So S5 looks more promising to me at the moment than S1, if usuability is similar to the S1 regarding video.

This seems like a strong release by Panasonic.
I am not sure if this has been posted already with the (almost) full specs
http://thenewcamera.com/tag/panasonic-s5/
AF is going to be THE issue, price rumored to be 1800$ which is close to 2000€, not that cheap but very capable it seems.
It is not just the poor relative of the S series, there are significant characteristics to make it appealing to a lot of customers.
I am not sure why Panasonic sticks to this AF technology and even if they change, how much time they will need to catch up..
I still have to see the "new" GH to have a complete knowledge of the market and choose accordingly.
I was quite "shocked" when I saw the sales percentages and Panasonic is at just 4.7% with Fuji. I was expecting a bit more from Pana and their more diverse line up.

Really not interested in the S1R, limited record time, no 10-bit. Extra megapixels alone is no where near worth the extra expense.

New accessory, attaches via hotshoe, produced by Tilta... 😄

Providing both accurate transformations (advanced and film) and stylized transformations (organic, blockbuster etc.) 😉

After firmware 2.0 I see less reasons to do so. Would love some more less cropped high frame rate options.
Overall 2.0 is quite impressive for V-Log.

Magenta tint seems gone
Orange/yellow lights won't burst into noise anymore
Sharpening seems to be turned off
Noise reduction -1 fixes the motion related issues, also much nicer grain pattern which matches the framerate (temporal NR seems to be gone entirely)
 
Here's a small test I did for an upcoming music video
https://drive.google.com/file/d/1pUW5itKQn2Jjz1pqkqh4sPxB-IgnOWgE/view?usp=sharing

Sony didn't care fixing the temporal noise reduction issues and oversharpening since the A7s2.
So, no break for Sony. This is not a camera made for narrative work. The Sony Videolook and missing DCI4K and missing shutter angles and true 24p made it quite clear.
I honestly expected much more.

Sony didn't care fixing the temporal noise reduction issues and oversharpening since the A7s2.
So, no break for Sony. This is not a camera made for narrative work. The Sony Videolook and missing DCI4K and missing shutter angles and true 24p made it quite clear.
I honestly expected much more.

Sony didn't care fixing the temporal noise reduction issues and oversharpening since the A7s2.
So, no break for Sony. This is not a camera made for narrative work. The Sony Videolook and missing DCI4K and missing shutter angles and true 24p made it quite clear.
I honestly expected much more.

It's called being prepared.   If you shoot new original content for a Netflix pitch and you use the A7SIII you'll look like an idiot when they ask for production specs.  Netflix camera list is a form of quality control so Netflix doesn't look like You Tube.

The S1H is clearly better here, you can clearly see the pixel steps with the Sony while the Panasonic is completely smooth.

Mark is great. One of my favorite YouTubers. 
I mean, I literally refuted what you said and showed evidence that the S1H is being used on an actual Netflix production. 
Now share evidence of your production experience, please. 

No one claimed this, so stop being an ass. You asked for evidence. He gave you some. No one is claiming they should shoot their next Netflix documentary special on an S1H. They shouldn’t if they have access to something better. But it is a fact, based on what NETFLIX has said, that sure...you can and we will accept it because X, Y, Z.
So what is your whole point of this argument? Almost everything you have posted is to incite some kind of argument.
No wonder people don’t stick around on this forum.

The argument you made wasn't "the vast majority," it was that no one would use it for anything but a crash cam. That's factually not true. 
Your comments re: the screen and lenses is a tell that you don't know what you're talking about. No one is using the S1H without rigging it up, unless they absolutely need to. They certainly don't care if they have to adapt lenses, either. 
You've done nothing but shit post on this forum. Please stop.

I'm confused as to why people think this. If you're shooting VariCam I imagine you would have an S1H on set for many reasons.

You mean they kept the noise reduction artifacts and oversharpening?
Yep, they did indeed. The ZV-1 looks the same even.