Geoff CB

Don't forget the S5 has a mini HDMI port vs the S1H with the full HDMI port so if you use an external monitor a lot that could be pretty important. For me personally, the S line never interested me until the S5 due to the cost of the bodies and the lenses. With the S5's reduced cost and the EF lens adapter, my two main reasons for not considering the S line were removed. For the S1H specifically, I was never sold on the fan either. Of course it prevents overheating when shooting video, but for hybrid photo/video shoots I felt like too much dust and moisture could get pulled into the body via the fan.
As far as All-I goes, most if not all of the tests that I have seen say there is no difference in 99% of the scenarios, supposedly All-I is easier to edit since there's a keyframe for every frame, but the data rates are so high that you need special cards to support it, storage is up to 4x more required, and it is still LongGOP compression; I would rather create temp proxies than deal with the headache of All-I. For All-I data rates I'd rather skip straight to raw if I'm going to deal with that kind of headache.

If you don't care about: timecode, unlimited record times, a more substantial build, slightly more usable screen configuration, top LCD, better EVF (I never use it for video anyway), then I would get the S5. 
I don't notice a huge difference between 400 and 150 10-bit recording, so you should be fine there. Can always get 6k or ProRes Raw (soon) or All-I ProRes recording with an external recorder.

For me, Canon's RF Mount has been a bit frustrating because using EF lenses actually gets you some really useful features on RF cameras. For the EOS R, R5, or R6, it's being able to use the amazing variable ND filter adapter, making swapping lenses so much easier. And now, for he C70, you can get full-frame FoV and an extra stop of light by using a speedbooster. The RF lenses are amazing, but since they are full-frame, give you some awkward focal lengths on Super35. The 24-70mm would be amazing with the C70 since it has IS, but a 35mm FoV on the wide end isn't wide enough. And the 15-35mm just won't have enough reach.
If I do end up getting the C70, then I think for doc-work, I would definitely snag the speedbooster and a 24-105mm f4, which would have the same FoV as on a full-frame and give me a f2.8 from 24-105mm. This is what I did with the Sony FS5 when I had it, and it's nearly perfect for doc-work. Either that for a 24-70mm (Canon or Sigma with IS) and have a 24-70mm f2 - pretty great lensing options there.

Surely you meant HOURS not days? Otherwise CAD$3800 is waaaaaaaaaaaaaay undercharging!

2010 and 2020 is quite a lot of difference
The house price went from avg $440K to $950K here, but the wage didn't increase double. As result of that more people just do civil marriage or smaller weddings, and the number of people getting married is down each year as well, while more wedding videographer pop up each year as equipment is getting much easier and cheaper to aquire.  So more people grabbing a shrinking pie.
 
We done jibs before too, album covers, poster etc, and even rent Red Helium.  Just the overall trend of wedding market is down in general. I stopped wedding as my main income around 2016, I  only do second shoots if my video friend need help, otherwise i just defer inquiry to my friends as it just not worth the hassle for me when I get better return elsewhere.

Some nice highlights.

Honestly I'm not going to buy the gimbal for this, just excited to see it because it means at some point the system will be available off of the gimbal setup. DJI should have realized how popular this feature would be and sold it as a separate device for $500. I would buy it in a heartbeat.

Have only skimmed the thread and the details on this gimbal so far but, my main question:
 
If you're already all rigged up holding a gimbal in your hand and with a gear motor attached to your lens:
Why would you not just use a wheel on the gimbal to manually pull focus?
Remember the whole point is you're almost certainly already holding it all in your hand. Follow focus add-on motors on the last gen (Ronin S/SC, Weebill S, Moza Aircross 2) all offer totally usable follow focus already. Why even invite the uncertainty of an autofocus system...
These gimbals look awesome though and I'm definitely feeling a hint of remorse at having recently bought a Ronin SC that I never even got to take out of the box yet 😅
 

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon. 

An example of continuous AF on a handheld Pocket4K with Panasonic/Leica 12-60mm.
 

Has there been any mention of EVA-2? What is Panasonic doing?
Where is their L-Mount, full-frame, highly-specced video camera to compete C300 III, FX9, FX6, C70, and Komodo? Just put the S1H sensor in an EVA-1 like body (hopefully a bit smaller), add in 120fps in 4k, ProRes Raw over HDMI/SDI, and get on with it. 

Where was their MFT Mount camera to compete with the FS7/C300mk2/EVA1??
Just stick the GH5 sensor into the AF100 and get on with it. 

Instead we got an EF Mount Panasonic EVA1.

In my opinion, Panasonic makes the best cameras with the best IQ (especially video IQ) in the business. They are reliable, packed full of features, ergonomically nearly perfect, and just fantastic to use. The S1 and S1H (and seemingly the S5) are the most useful mirrorless tools and the S1H in particular is a brilliant video camera.
But Panasonic needs to go all-out with L-Mount NOW, because Canon and Sony are going gangbusters with camera releases. With the C70 RF and Sony FX6 coming out soon, Panasonic needs to release an EVA-2 ASAP and load it with features to solidify the L-Mount. The EVA-2 has to be an FS7-type release, where they give out features that no other manufacturer has at that price point. Main competition will obviously be the C300 III, FX9, FX6, and C70. 
Here is what I think they need to do:
- Release EVA-2 with L-Mount
- FULL FRAME - has to be.
- 120-180fps in 4k (C300 III and C70 does this, but has a Super35 sensor)
- IBIS - first ever in a cinema camera and make it LOCKABLE (I know cinema cameras "NEVER!" have IBIS, but I think the market would love it).
- Dual ISO (640 and 4000)
- 12-bit codec - Codecs in EVA-2 and S1H and 5.9k ProRes Raw output are great - internal raw would be excellent but maybe not possible. An internal 12-bit codec would be awesome though.
- PDAF - I don't care as much about AF, but the market demands it. At least the S5 AF in the EVA-2. 
- Compact Body - Make it smaller, more like the FS5 sized than EVA-1
- $7499 - Same price as EVA-1 and WAY below any full-frame cinema camera with these specs. Could even go closer to the FX9 ($10k even) with these specs.
If they put out a pretty standard Super35 camera with 4k 60fps and raw out (basically an EVA-1 with L-Mount), they're not going to gain much traction. They need a GH5-level release (2-3 years ahead of the competition on specs) but in full-frame. The FS7 changed the trajectory for Sony and wasn't matched on specs and price until the EVA-1, nearly 3-4 years later. They need THAT type of camera now.
 
 
 
 

Some nice highlights.

Confusing, overpriced product. It’s clear L-Mount is the focus for traditional image capture at Panasonic now.

For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday.
I'm absolutely not going to give the game away before then and say that it also supports manual lenses.
Absolutely not going to spoil that surprise.

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon. 

Some nice highlights.

FFS NIKON!!!!! 🥵

Just used mine this week on another commercial hybrid capture project and it was superb in all regards.
One minor niggle and that is when switching from stills to video or back, it takes a few seconds to set itself up.
Another is write speed is a little slow at times, ie, switch to video following a few stills and there's a few extra seconds there whilst it's writing.
Nothing that's deal-breaking to me, just niggles I have become aware of and need to work around.
@herein2020 Yes, everything I have read points to Sigma lenses being best on the Sigma camera, Leica on Leicas and Panasonic on Panasonic.
The first of the f1.8 primes, the 85mm is due in Nov and the rest of the primes some time 'soon' and I guess the next best option is the native 24-70 f2.8, but it's a bit of an investment.
I'm making do with the 20-60 until then (and it's pretty superb in it's own right, never mind at £200 which is what it cost in the deal purchase price) until those primes arrive.
I was looking at a pair of Nikon Z6ii's for my hybrid wedding work for when that starts again (hopefully) in April, but now that Nikon have blown it for me and are passing into history, I'm really looking forward to those primes as 3x S5's are looking like my next 3 years future.

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon. 

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon. 

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon. 

Possible answer, Dolby paid them. I'm someone who thinks the Dolby Vision workflow is incredible, doing HDR and SDR in single grading pass is witchcraft but their system pulls it off,  only problem with it is it is proprietary and expensive. 

10 years just about EVERYBODY on the planet that can afford a phone will have the same motion picture IQ power we currently have.
Best to question "what exactly do I bring to the table when offering video production services?"  If your answer is "the camera" you need to start getting really paranoid.  Most clients are not going to fret about DXO scores. If that's where your attention lies (and there's nothing really wrong with that) I hope you're aspiring to a much higher echelon of production than I am!
I'm pretty close to retirement so my day in the sun with all this stuff is coming to an end.  Looks like I'll be riding the imaging technical wave as it crashes onto the beach.